Jimi Hendrix

306. Slade – Coz I Luv You (1971)

/ robbarker1979

The Intro

“Get down and get with it!” Wolverhampton glam rockers Slade are one of the most fondly remembered bands of the 70s. Six number 1s between 1971-73, 17 consecutive top 20 singles, and according to The British Hit Singles & Albums, they were the most successful British group of the decade for singles sales. And I’m only just getting round to mentioning Merry Xmas Everybody, which I picked as the greatest Christmas number 1 of all time here.

Before

All four members of Slade grew up in the Black Country area of the West Midlands. In 1964, drummer Don Powell, born and raised in Wolverhampton, was in a band with Dave Hill (born in Devon) called The Vendors. Meanwhile, Walsall’s Noddy Holder was guitarist and occasional singer with Steve Brett & the Mavericks. who released three records on Columbia in 1965.

The Vendors became The ‘N Betweens and gained momentum, supporting The Hollies and The Yardbirds, among others. Meeting on a ferry on the way to separate gigs in Germany, Powell and Hill tried to persuade Holder to join The ‘N Betweens, but he declined. Once they were all back home though, Holder changed his mind and became their lead singer. They had recently recruited multi-instrumentalist Jim Lea on bass, too.

By 1966 The ‘N Betweens had moved on from blues to a more R’n’B sound. They released their first single, a cover of The Young Rascals’ You Better Run, in 1966, produced by Kim Fowley, arranger of Nut Rocker.

They didn’t return to a studio for a few years, but in 1967, with flower power at its peak, Holder worked on an unnamed song with a chorus that went: ‘Buy me a rocking chair to watch the world go by/Buy me a looking glass, I’ll look you in the eye’. Six years later it became Merry Xmas Everybody.

A local promoter alerted the band to Jack Baverstock, head of A&R at Philips. After spending a week recording their debut album Beginnings in the label’s studio, he offered them a deal with Fontana Records – if they changed their name. Despite misgivings, they became Ambrose Slade, inspired by Baverstock’s secretary, who had named her handbag ‘Ambrose’ and her shoes ‘Slade’… as you do…

Beginnings and instrumental single Genesis sank, but on the plus side, they found a new manager in Chas Chandler, former bassist with The Animals, who helped Jimi Hendrix rocket to fame. It didn’t mean instant success, but Chandler did set them on the right path, telling them they needed more original material and a new image. They adopted the skinhead look in an attempt to keep up with prevailing trends and as The Slade they released the single Wild Winds Are Blowing, which tanked.

A new decade, a new name: Slade. They featured on Top of the Pops in 1970 with their cover of Shape of Things to Come, but to no avail. They added lyrics to Genesis and reworked it as Know Who You Are, but neither that nor November’s LP, Play It Loud, got anywhere either.

Finally, their fortunes changed. In 1971 Chandler suggested they record one of their most popular live numbers. Their cover of Bobby Marchan’s Get Down with It (later covered by Little Richard) – retitled Get Down and Get with It, came out that May, and it climbed to number 18 in August. And for good reason, it’s an electrifying performance, particularly Holder’s raw vocal, and really captures an infectious, fun, live sound.

Slade were already growing their hair long once more when Chandler demanded they come up with a follow-up themselves. One evening Lea turned up at Holder’s house with his violin and an idea for a simple song, along the lines of T. Rex’s Hot Love, and half an hour later, they had written their first number 1.

They played Because I Love You acoustically to an enthusiastic Chandler the next day, who confidently predicted it would be their first chart-topper. He booked them into Olympic Studios in Barnes. Slade were less keen on its chances, thinking it too soft and poppy, until they were allowed to add foot-stomping to the rhythm. They also decided to change its title, and Holder came up with the idea to misspell it to fit in with their dialect. Thus, Coz I Luv You, the first of their songs littered with spelling errors, was born.

https://www.youtube.com/watch?v=gufUfvpg5XA

Review

Coz I Luv You is a nice signpost to the full-on glam sound Slade songs yet to come would feature. It doesn’t have the immediate ‘wow’ factor of Hot Love or Get It On, but it’s a great introduction to what was to come. It’s interesting that they all thought it was too lightweight, and maybe the footstomping really did make the difference, but this track actually has a bit of a sinister edge to it, thanks to Holder’s vocal styling. Inadvertently or not, he makes ‘Don’t you change the things you do’ sound like a threat, and Lea’s violin at times adds to the slightly uneasy feeling.

After

Soon Slade developed their more raucous, straightforward take on Bolan’s glam rock. They were never bothered with maintaining a cool mystique like he was, and began to also be known for their ridiculous glam outfits, before going on to become national treasures. For now though, they were just a slightly weird rock band who had finally made the big time.

The Outro

Coz I Luv You would later be covered by fellow Black Country musicians, indie band, The Wonder Stuff.

The Info

Written by

Noddy Holder & Jim Lea

Producer

Chas Chandler

Weeks at number 1

4 (13 November-10 December)

Trivia

Births

22 November: Olympic rower Cath Bishop
1 December: Actress Emily Mortimer
5 December: Triple jumper Ashia Hansen

Deaths

17 November: Actress Gladys Cooper

Meanwhile…

22 November: Five children and one adult die after becoming stranded for two nights in blizzards on the Cairngorm Plateau. It is still regarded as Britain’s worst mountaineering accident.

2 December: The Queen’s yearly allowance was increased from £475,000 to £980,000. I’m sure millions of republicans were very pleased for her.

4 December: The highest death toll from a single incident in The Troubles to date took place when 15 people were killed and 17 injured in the McGurk’s Bar bombing. The Ulster Volunteer Force are believed to have been behind the bombing.

293. The Jimi Hendrix Experience – Voodoo Chile (1970)

/ robbarker1979

The Intro

30 years on, I can still remember the first time I saw Jimi Hendrix. I can pinpoint the date because it was a clip on Good Morning Britain in which the presenters were talking about the 20th anniversary of his death, so I was 11. I’d never seen anything like this otherworldly flamboyant peacock, tearing away at his guitar with supernatural abandon, on stage in darkness. It was mesmerising, exciting, and even scary.

Jimi Hendrix was the greatest guitarist of his generation, perhaps ever, but he never had a number 1 in his lifetime. Voodoo Chile, from the final album by The Jimi Hendrix Experience Electric Ladyland in 1968, was released posthumously. Not a pop single, but what a riproaring way to call time on Hendrix and the 60s.

Before

He may have seemed like he’d arrived on Earth from outer space, but Johnny Allen Hendrix was born 27 November 1942 in Seattle, Washington, the eldest of five children. Four years later his parents changed his name to James Marshall Hendrix in honour of his father Al and his late brother Leon Marshall. Al was in the army, and absent for much of his eldest’s childhood. His mither Lucille struggled and James would often be sent to female family members and friends of Lucille.

When Al returned from service, he and Lucille would argue violently, and the shy James would hide in a closet. Many years later, he revealed to a girlfriend that he was once abused by a man in uniform. At the age of nine, his parents divorced and Al was granted custody.

In 1957, father and son were clearing an old woman’s home when the young Hendrix found a ukelele with one string left, which she said he could keep. He learnt to play by ear, and would particularly enjoy doing so to Elvis Presley’s Hound Dog.

By mid-1958, a few months after his mother’s early death, he bought his first acoustic guitar. He would play for hours, learning the blues licks of Robert Johnson, BB King and Muddy Waters, but the first tune he learned to play in full was the theme to Peter Gunn.

Soon after his purchase he formed his first group, called The Velvetones. but struggled to be heard above the din, and in 1959, Al bought him one. Hendrix joined The Rocking Kings, and began playing professionally.

Aged 18, Hendrix was caught riding in stolen cars more than once, and police offered him a choice between prison or the army, and he chose the latter and enlisted in 1961. Hendrix struggled and missed his beloved guitar, but when Al sent him it his peers would tease him and hide it from him. Fellow serviceman Billy Cox was impressed with his playing though and they soon joined other servicemen in a band called The Casuals.

After they had both been discharged in 1963 the duo formed new band The King Kasuals. Their second guitarist Alphonso ‘Baby Boo’ Young could play with his teeth, and before long Hendrix could too. As well as The King Kasuals, Hendrix began performing as a backing musician for soul stars including Sam Cooke, Ike & Tina Turner and Jackie Wilson.

In 1964 Hendrix joined The Isley Brothers’ backing band The IB Specials and made his first recording on their two part single Testify. But he got bored of being restricted to the same set every night and left in October to join Little Richard’s touring group The Upsetters. He would make his TV debut appearing alongside the rock’n’roll legend in 1965

There would be further performances with artists including saxophonist King Curtis, but Hendrix couldn’t stand the restrictions of not getting the spotlight to himself, so in 1966 he moved to New York’s happening Greenwich Village and would begin a residency fronting his new band Jimmy James and the Blue Flames, and it is here that he really developed his incredible style.

That May, while performing with Curtis Knight and the Squires he found an important fan in Linda Keith, the girlfriend of Keith Richards of The Rolling Stones. Their producer Andrew Loog Oldham was somehow blind to the potential of this virtuoso axeman, so Keith told Chas Chandler about him. Chandler was about to leave The Animals and was looking to move into managing and producing talent. He saw Hendrix performing Hey Joe in Greenwich Village, and was blown away. Hendrix signed with him and moved to London in September.

Hendrix and Chandler were on the lookout for members of a new band to showcase the former’s talent. They asked guitarist Noel Redding to play bass for him after seeing him at an audition for The New Animals, and drummer Mitch Mitchell had recently been fired from Georgie Fame and The Blue Flames. Chandler suggested Jimmy change the spelling of his name, and The Jimi Hendrix Experience had arrived.

The trio performed for the first time in France, supporting Johnny Holliday, that October. A month later they signed to Track Records, a new label set up by Kit Lambert and Chris Stamp, managers of The Who. A performance at the ultra-hip Bag O’Nails in front of John Lennon, Paul McCartney, Mick Jagger, Brian Jones and Pete Townshend set tongues wagging. Debut single Hey Joe shot to number six in December.

If ever there was a case of right time, right place, it was The Jimi Hendrix Experience, in Swinging London, in 1966 and 67. And 1967 was truly their year. Purple Haze and The Wind Cries Mary were top 10 hits in March and May respectively. These first three singles displayed the versatility of these firebrands. They could do soulful covers, write their own psychedelic rock and tender ballads. Debut album Are You Experienced, also released in May, went even further, with the blues of Red House and experimental rock like the title track. It’s rightly considered one of the greatest debut albums of all time, and climbed the charts in the Summer of Love alongside landmark LPs by The Beatles and Pink Floyd.

That summer saw Hendrix blow McCartney’s mind with a live performance of the title track to Sgt. Pepper’s Lonely Hearts Club Band, and one of the most memorable rock performances of all time at the Monterey Pop Festival. As if Hendrix’s guitar-playing wasn’t impressive enough, he ended their show by setting his instrument on fire. After Monterey they briefly toured as support for The Monkees, quitting after a fortnight due to the audience’s general bafflement.

The trio ended an incredible year with the release of second album Axis: Bold as Love. While the least impressive of their three LPs, it was still sterling work. On 20 December they set to work on the opus that would be the group’s swansong – the double album Electric Ladyland.

Tensions rose during recording, with Hendrix taking more of an interest in the production, which annoyed Chandler, as did his increasing perfectionism. Not only that, the sessions were getting more and more chaotic thanks to fellow musicians dropping by, and also Redding was busy with his new group Fat Mattress, so Hendrix would record his own bass parts. Nonetheless, Electric Ladyland was a masterpiece thanks to songs like Crosstown Traffic and the definitive Bob Dylan cover, All Along the Watchtower. And then there was the album closer.

Voodoo Chile (Slight Return) was a rocked-up, alternative to Voodoo Chile, a 14-minute-plus blues jam featuring Steve Winwood, among others, earlier on the album. The day after that version had been recorded, The Jimi Hendrix Experience returned to the studio to film a documentary, and a session of jamming resulted in Hendrix’s sole number 1 single.

Review

What a track, what a way to pay tribute to one of the greatest musicians ever, and what a full stop on the 60s. Voodoo Chile, as it became confusingly titled upon its posthumous single release (the Slight Return being dropped by Track Records) is no pop single. It’s The Jimi Hendrix Experience at full throttle and saying goodbye. Opening with one of the greatest guitar riffs of all time, the track then explodes.

Hendrix pays tribute to the masters of blues from his youth with some lyrical imagery portraying Hendrix as some kind of superhuman, able to chop down mountains with the edge of his hand. Not that far removed from songs like Bo Diddley’s I’m a Man.

The music is in another dimension to such material, though, a heavy psychedelic onslaught of guitar noodling that, thanks in part to the stereo panning, swirls around your head and never gets boring, unlike perhaps some of Hendrix’s later work. The lyrics don’t last long, but may well be the reason this was picked as a tribute to Hendrix. The second and last verse ends with the guitarist apologising for taking up all the listener’s sweet time (like he has anything to apologise for) and then a promise:

‘If I don’t meet you no more in this world
I’ll meet you in the next one
And don’t be late
Don’t be late!’

Voodoo Chile has probably always been my favourite song by The Jimi Hendrix Experience, and I love the fact that for one week, this was number 1. Storming, magnificent and unforgettable.

After

Electric Ladyland was released in October 1968. 1969 began with the trio caused controversy with their appearance on the BBC’s Happening for Lulu when they abruptly stopped performing Hey Joe to perform Sunshine of Your Love by way of tribute to the recently disbanded Cream. They prevented Lulu performing her closing number, and Hendrix was told they would never work for the BBC again. Around this time, Chandler quit.

The Jimi Hendrix Experience’s two February gigs at the Royal Albert Hall were their final UK shows, and in June after a performance at the Denver Pop Festival, matters between Hendrix and Redding came to a head, and Redding left.

Hendrix expanded the line-up, adding his old friend Cox on bass, and they headlined the Woodstock Festival as Gypsy Sun and Rainbows, famously blowing the minds of the remaining hippies on the Monday morning with an incendiary version of The Star-Spangled Banner.

To put an end to several years of legal disputes, Hendrix recorded a live album, Band of Gypsys, with Cox and new drummer Buddy Miles. The Band of Gypsys were not to last long as an entity though, and Hendrix’s manager Michael Jeffrey announced in February 1970 that The Jimi Hendrix Experience were to return in their original line-up. This was news to the frontman though, who was reluctant for Redding to return, so he began touring with Mitchell and Cox instead on The Cry of Love Tour.

On 31 August 1970 Hendrix headlined the Isle of Wight Festival, but was beset with technical problems. On 2 September he angered fans in Denmark after three songs announcing ‘I’ve been dead a long time’. After a badly-received set in Germany, Cox was suffering from severe paranoia after a bad LSD trip, and he returned to the US.

Hendrix and Mitchell returned to the UK, and the former spoke to Chandler about being unhappy with Jeffrey’s management. He did an impromptu performance on 16 September with War at Ronnie Scott’s Jazz Club, which was uncharacteristically low-key.

Two days later, his girlfriend Monika Dannemann found him unconscious in bed, and he was pronounced dead soon after. Hendrix had choked on his own vomit on a cocktail of barbiturates and sleeping tablets. He was only 27.

The Outro

Perhaps Jimi Hendrix was never meant to live a long life. His flame only burned for a few years, but it burned brighter and more colourfully than most can only dream about. Following Redding’s departure, Hendrix had struggled to live up to those first three albums, which suggests The Jimi Hendrix Experience had a very special alchemy. Mitchell was a fantastic drummer in particular, and if Hendrix hadn’t been in the spotlight so much, he may have been better remembered. Redding, sardonic and grounded, was perhaps good at stopping Hendrix from getting too carried away in the studio.

Redding was found dead at home in Ireland on 11 March 2003 after a shock haemorrhage, aged 57, and Mitchell died five years later on 12 November in a hotel in Portland, Oregon of natural causes, aged 62.

The Info

Written by

Jimi Hendrix

Producer

Chas Chandler

Weeks at number 1

1 (21-27 November)

Trivia

Births

22 November: Novelist Stel Pavlou
23 November: TV presenter Zoe Ball

Meanwhile…

27 November: The Gay Liberation Front organised its first march in London.

292. Matthews Southern Comfort – Woodstock (1970)

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The Intro

Matthews Southern Comfort, led by former Fairport Convention singer Ian Matthews, had a surprise number 1 with this beautiful cover of Joni Mitchell’s epitaph to the Woodstock Music and Arts Festival 1969, which also seemed to mourn the end of the optimism of the hippy movement, and touched a nerve following the recent death of the festival’s headliner Jimi Hendrix. Of the three famous versions out there, this is the best.

Before

Mitchell hadn’t actually attended or performed at the Woodstock festival as her manager had told her to appear on The Dick Cavett Show instead. She was in a relationship with Graham Nash at the time, though and he was there performing as part of his new supergroup with David Crosby and Stephen Stills. Watching the events unfold on TV from her hotel room had a profound effect on the singer-songwriter, and she put pen to paper.

Woodstock turned Max Yasgur’s farm that hosted the festival into the garden of Eden, and the journey to the site became a spiritual journey that would lead to enlightenment. Mitchell imagines meeting a child of God on their way to the site, starts to feel like she can be a part of a movement, and before you know it there are half a million likeminded souls.

She began performing her new song only a month after Woodstock, at the Big Sur Music Festival. Her recorded version found its way on to her third album Ladies of the Canyon in March 1970. It’s a sparse, low-key arrangement, performed on an electric piano. Sadly, it’s somewhat spoilt by her annoying double-tracked backing vocals.

Around the same time, Crosby, Stills, Nash & Young (for Neil Young had joined the fray) released their version on the album Déjà Vu. They had recorded a version with Jimi Hendrix while working on the song, released on the outtakes album Both Sides of the Sky (2018). I’m a huge fan of CSNY, but find their version of Woodstock somewhat of a misfire. They ditch the haunting melancholy of the original and turn it into a rather bog-standard rock anthem. An alternate take was used to close Michael Wadleigh’s Woodstock documentary (1970). Which brings us to Matthews Southern Comfort. But who were they?

Ian Matthews MacDonald was born 16 June 1946 in Barton-upon-Humber, Lincolnshire. When he was 12 the MacDonalds moved to Scunthorpe, close to where I live. He left school at 16 and worked as an apprentice signwriter, and by the mid-60s he was performing in local bands. MacDonald moved to London in 1965 and formed surf music trio The Pyramid.

In the winter of 1967 he was recruited to sing for the then-new rock band Fairport Convention, and was among the line-up to record their eponymous debut (1968) and follow-up What We Did On Our Holidays in 1969. Sometime between the two, MacDonald changed his name to Ian Matthews (his mother’s maiden name), to avoid confusion with Ian MacDonald of King Crimson.

However, the second LP by the band saw them moving toward the traditional folk for which they would become so influential, and Matthews departed during the making of Halfbricking in 1969.

He quickly began work on his debut solo album, Matthews’ Southern Comfort, featuring more of the US country sound he performed. The line-up featured former Fairport colleagues like Richard Thompson, and included his own material as well as covers. Matthews put together a touring band, called Matthews Southern Comfort (minus the apostrophe), featuring lead guitarist Mark Griffiths and Gordon Huntley on pedal steel guitar from the album, plus new members Carl Barnwell on guitar, bassist Andy Leigh and Ray Duffy on drums.

Matthews Southern Comfort released their debut LP Second Spring in July 1970, and the world shrugged. However, a month prior to that they had recorded a set for BBC Radio 1’s Live in Concert. They needed one final song, and Matthews had recently bought Mitchell’s Ladies of the Canyon. The band kept their version of Woodstock faithful to the original, and it went down so well, the BBC contacted their label about it. Uni Records suggested it was recorded and added to their next album, Later That Same Year. Matthews refused, but said it could become a single. However, while recording the new version, the arrangement was radically altered, in part to suit Matthews’ voice.

Review

Apparently Mitchell later told Matthews this was her favourite version of Woodstock, and I agree completely. This recording is sublime. Matthews Southern Comfort perfectly capture the sadness of the end of an era, the feeling that the counterculture didn’t pull it off. That we never did get ‘back to the garden’. Of special note is Huntley’s steel guitar, giving the song a sense of yearning for what could have been, the circular guitar sounds (mixed down in the single version) and Matthews’ tender voice and the lovely harmonies. This version is what Crosby, Stills, Nash & Young’s should have sounded like.

MCA Records, the parent company of Matthews Southern Comfort’s record label, only agreed to release Woodstock if CSNY’s version tanked, which it did. But they refused to spend money on promotion upon its release in July. Luckily for Matthews and co, they had a fan in BBC DJ Tony Blackburn, who made it Record of the Week on his Radio 1 breakfast show. Here’s a great example of how long it could take a single to climb the charts back in the day. Three months to make it to number 1!

Top of the Pops would show a lovely promo film during Woodstock‘s weeks at number 1, with a beautiful hippy girl wandering around the streets and looking at posters of the Woodstock film. Doesn’t sound like much, but it’s pretty fitting.

Were the band pleased to be chart-toppers? Not really, it turned out. Matthews didn’t like the extra demands on his time being a pop star entailed, and he walked out in December, making Woodstock their final single. He went solo, and the rest of the line-up continued as Southern Comfort, releasing three albums between 1971 and 1973.

Matthews recorded two albums in 1971 (If You Saw Thro’ My Eyes and Tigers Will Survive), before forming a new group called Plainsong, which included Andy Roberts. When they collapsed Matthews continued to record while living in Los Angeles, working with Michael Nesmith of The Monkees at times during the 80s and 90s. He has gone by the name Iain Matthews ever since 1989.

In 2000 he moved to Amsterdam and continues to record and perform, sometimes reviving Matthews Southern Comfort or Plainsong. Matthews co-wrote Thro’ My Eyes: A Memoir with Ian Clayton, released in 2018.

The Outro

There are similarities shared between Woodstock and Scott McKenzie’s 1967 number 1 San Francisco (Be Sure to Wear Flowers in Your Hair). Both are folk songs written to commemorate counterculture festivals and give them mystical meaning. Yet by the time we get to Woodstock, it’s over. Hendrix’s death in September and this track are a full stop on the 60s. And yet, the festival scene certainly wasn’t over, with the very first Glastonbury Festival taking place the day after Hendrix’s death and celebrating its 50th anniversary this June, bigger than ever. And the next number 1 would be a very fitting postscript.

The Info

Written by

Joni Mitchell

Producer

Ian Matthews

Weeks at number 1

3 (31 October-20 November)

Trivia

Births

7 November: The Divine Comedy singer-songwriter Neil Hannon
12 November: Actor Harvey Spencer Stephens
13 November: Race walker Verity Snook-Larby

Deaths

8 November: Liberal MP Alasdair Mackenzie
13 November: Labour MP Bessie Braddock

Meanwhile…

17 November: The Sun newspaper featured a Page Three girl for the first time. This tradition made stars of Samantha Fox and Maria Whittaker among others, but divided public opinion. However it continued for 44 years, until 2015.

20 November: The 10 shilling note ceased to be legal tender.

290. Smokey Robinson and The Miracles – The Tears of a Clown (1970)

/ robbarker1979

The Intro

Much like Marvin Gaye’s I Heard It Through the Grapevine in 1969, The Tears of a Clown was an album track by Motown legends, several years old, that could have easily languished as a forgotten album track, but is now considered a soul classic.

Before

William Robinson Jr was born 19 February 1940 in Detroit, Michigan. It was his uncle Claude that gave him the nickname ‘Smokey Joe’ while he was still young. He was a clever child, and sporty, but he really loved music. In a 2007 interview with CBS Robinson revealed he and Aretha Franklin lived only a few doors down from each other, and he had known her since she was five.

Robinson formed a doo-wop group called The Five Chimes in 1955, which included schoolfriends Ronald White and Pete Moore. They changed their name two years later to The Matadors. The line-up then consisted of Robinson, White, Moore and cousins Bobby and Claudette Rogers (who Robinson married in 1959).

The Matadors auditioned for Brunswick Records but failed. However, among those watching was songwriter Berry Gordy Jr, who was impressed with Robinson’s voice in particular. Gordy recorded what was to become their debut single around the time they settled on The Miracles as their name. Got a Job was given to End Records to distribute – Gordy made the princely sum of $3.19 for his production, and Robinson suggested he start his own record label. Which he did, in 1959, and he called it Tamla Records. Bad Girl became their first single to chart in the US, and around this time guitarist Marv Tarplin, fresh from playing with The Primettes (later The Supremes) joined Robinson and co to form the classic line-up.

The Miracles’ first hit came in 1960, when Shop Around reached number two on the Billboard Hot 100 and number 1 on the R’n’B chart. It was only modest successes on Motown Records after that until the classic You’ve Really Got a Hold On Me in 1962. The group’s brand of bittersweet, smooth soul, with Robinson’s beautiful voice, made them Motown’s top-selling act and earned them rave reviews for their live performances, which helped them become known as ‘The Showstoppers’.

But The Miracles were so talented, they all helped write some of Motown’s greatest songs sung by other groups. I’m talking soul classics such as The Way You Do the Things You Do and My Girl for The Temptations and My Guy by Mary Wells. Most other Motown acts had their songs written by staff songwriters, but The Miracles mostly recorded their own.

Around 1964, Robinson was made vice president of Motown, and other members of The Miracles took jobs within the label. Unfortunately, Smokey and Claudette made plans to start a family, but the intense touring schedule was believed to contribute to several miscarriages by Claudette, and in 1965 she quit touring, TV and and publicity photos, despite continuing to record until 1972.

That same year they finally made their way into the UK singles chart with one of Motown’s best songs, The Tracks of My Tears, from the album Going to a Go-Go, reaching number nine. From this album onwards they became known as Smokey Robinson and The Miracles. In 1966 (Come Round Here) I’m the One You Need reached number 13.

At that year’s Motown Christmas Party, Robinson was approached by fellow label legend Stevie Wonder with a backing track he had come up with along with his producer Hank Cosby. Wonder wondered (sorry) if Robinson wanted to work on it, as he was stumped for any lyrics. After a few days, Robinson felt inspired to come up with something circus-themed to match the distinctive opening, and went back to the clown in the opera Pagliacci, who puts on a show for his audience while crying on the inside. He had used this before in the 1964 song My Smile Is Just A Frown (Turned Upside Down), written for Carolyn Crawford. Weirdly, Little Stevie Wonder covered (I’m Afraid) The Masquerade Is Over, which also referenced Pagliacci, on his album Tribute to Uncle Ray in 1962.

For that famous circus-like opening, they hired Charles Sirard from The Detroit Symphony Orchestra to play the bassoon, which is the low burbling sound beneath the piccolo by Jim Horn. Horn would also feature on albums by The Rolling Stones and The Beach Boys.

The Tears of a Clown became the closing track on Smokey Robinson and The Miracles’ 1967 album Make It Happen. And, unbelievably, there it stayed for three years. In the meantime I Second That Emotion was a top 30 hit on these shores that year, but then the UK hits dried up once more.

By 1969, Robinson was ready to quit the group and concentrate on his role as Motown vice president and be at home more for Claudette, as they had finally started a family. But all that was to change in 1970, when the frustrated British division of Motown asked Karen Spreadbury, head of a Motown fan club here, to pick a song they could release as a single, and she chose The Tears of a Clown.

Review

Motown may be a legendary label, and for good reason, but you do have to wonder about how many hits they let slip through the net when you look at the stories behind The Tears of a Clown and I Heard It Through the Grapevine. Perhaps Gordy (and Wonder, before he became more experimental) found that opening too weird, without realising its exactly that which draws the listener in to begin with. But Robinson was such an expert songsmith he’s able to keep up the momentum, with his always wonderful, soaring vocal and great lyrics.

The idea of a song about a man masking his pain had been done plenty of times before, including by Robinson himself on The Tracks of My Tears. However, I’d argue Robinson’s lyrics here make The Tears of a Clown the definitive example. I particularly like ‘But don’t let my glad expression/Give you the wrong impression’ and the chorus. Robinson is a man on top of his game here. A sad song about heartbreak that’s uplifting and you can dance to it. Oh, and of course, Robinson’s voice. What’s not to love?

After

The renewed interest in Smokey Robinson and The Miracles meant The Tears of a Clown was then released in the US, albeit in a new mix. It reached number 1 in their home country too.

This double success persuaded Robinson to stay on as lead singer for longer. They had their own TV special in the US, The Smokey Robinson Show, also starring The Supremes, The Temptations and Stevie Wonder. One more hit, 1971’s I Don’t Blame You at All followed, and then Robinson decided it was time to go in 1972, introducing Billy Griffin as his replacement. Their final album together was Flying High Together, including the ironic single We’ve Come Too Far To End It Now. Claudette chose to retire entirely from the group too, and within a year Tarplin had gone.

Their first releases in 1973 landed without trace, but they scored a 1974 US hit with funk song Do It Baby. And then in 1976 came the great disco smash Love Machine – Part 1, which was a US number 1 and reached number three in the UK. Despite this, The Miracles left Motown and signed with Columbia Records in 1977, but the hits dried up again, and they split in 1978.

In 1980 The New Miracles were formed and lasted three years. Then in 1983 the Robinsons, Moore, Tarplin and Rogers reunited to perform a medley on the TV special Motown 25: Yesterday, Today, Forever.

In 1993 White, Rogers and New Miracles member Dave Finley reformed The Miracles with former Shalamar singer Sydney Justin. Sadly White died in 1995. The group continued to perform until 2011, with even Claudette returning to the fold (now divorced from Smokey), but age caught up with some of the longest-serving members. Tarplin died in 2011, then Rogers in 2013, then Moore in 2017.

The Outro

Smokey Robinson went on to have a solo UK number 1 in 1981 with Being With You, so I’ll cover his solo career and the controversy with his entry into the Rock and Roll Hall of Fame in due course.

The Tears of a Clown has been covered time and time again, and the most notable version is Tears of a Clown, a well-deserved number six hit for ska and new wave group The Beat in 1979.

The Info

Written by

Hank Cosby, Smokey Robinson & Stevie Wonder

Producers

Hank Cosby & Smokey Robinson

Weeks at number 1

1 (12-18 September)

Trivia

Births

18 September: Cricketer Darren Gough

Meanwhile…

18 September: US rock star and guitar god Jimi Hendrix, died in London from a suspected drug-induced heart attack, aged only 27.