The BEST MUSIC EVER !!! Mostly From The 60s & 70s ... Some 1980s & 50s Music too. SINATRA, R&B, ROCK N ROLL & No RAP CRAP What-So-Ever
In 1961, the producer Rick Hall recorded “You Better Move On”—a loping, indignant song about a dude stuck in love with a woman who’s already promised herself to another—in a converted tobacco warehouse in Muscle Shoals, Alabama. The song was written and sung by Arthur Alexander, a bellhop from nearby Sheffield, and was later covered by the Rolling Stones, the Hollies, George Jones and Johnny Paycheck, and others. Alexander’s vocal sounds tired, as if he’s chosen to go on arguing but knows, in some awful and instinctive way, that he’s already lost the fight: “Can’t you understand, man, she’s my girl?” he sings. The words drift and disappear. His performance is defiant, but lonesome. It’s a soul song, but it’s country, too.
“You Better Move On” was enough of a hit for Hall and Alexander—it made it to No. 24 on the pop chart—that Hall was able to purchase a proper recording space: a boxy brown-and-beige building on Avalon Avenue, just a couple miles south of the Tennessee River, in an otherwise unremarkable stretch of town. fame Studios would eventually become known and coveted, globally, for its lush and tender sound. Hall, who died on Tuesday, at eighty-five, was its engineer and its keeper.
“At different points in time on this planet, there are certain places where there is a feel of energy,” Jimmy Cliff, the Jamaican ska and reggae musician, says in “Muscle Shoals,” a 2013 documentary about the studio. “At this certain point in time, for a number of years, this was Muscle Shoals.” I don’t know how to explain what was going on there, either—why so many remarkable records were cut in that room. The history of American music is punctuated by stories about places like this—strange, sacred spots, where certain metaphysical tensions briefly manifest and align. Clarksdale, Bakersfield, Macon. Muscle Shoals.
Hall turned the studio’s bathroom into a makeshift echo chamber. “If you had to take a crap or something in the bathroom, we had to stop the session until you got through,” he says in a taped interview from 2015. “We had to modify things back then. We had to improvise.” He breaks into a dry cackle, recalling the wildness of it all. The Swampers, the studio’s house band, played in a funky and particular way—loose-limbed and groove-oriented. Aretha Franklin later described their sound as “greasy.” (She also credited the studio with shifting the trajectory of her career: Hall helped her uncover a different, chunkier part of her voice.) Everything made there felt soft at the edges, mildewed, as if it had been left out in the rain for a couple of days. Pilgrims flocked to Alabama, hungry for some of that heavy air: Etta James, Wilson Pickett, Bobbie Gentry. In 1966, Percy Sledge recorded “When A Man Loves A Woman” there. It might be the best song we have about the devastations and capitulations of deep love—about the way we all string ourselves up for just a little more rapture. Duane Allman supposedly set up a pup tent in the parking lot of fame, just to be closer to whatever was happening inside. Even then, all that anybody knew for sure about fame’s odd and singular alchemy was that Hall was its principal. “My records were me, they were Rick Hall,” he said.
Hall was born on January 31, 1932, in Forest Grove, Mississippi. His father was a sharecropper, and Hall grew up sleeping on a straw bed, in a house with a dirt floor and no plumbing. His mother split when he was four. “We grew up like animals. That made me a little bitter, somewhat driven. I wanted to be special. I wanted to be somebody,” he explains in “Muscle Shoals.” He eventually got a job as an apprentice to a toolmaker, in Rockford, Illinois, and started playing in local bands. Later, he returned to the South—to Florence, Alabama—to work in an aluminum factory. After both his first wife and his father died within a two-week period, he suffered a kind of spiritual breakdown. “I freaked out. I became a drunk, a vagabond, a tramp,” he admitted. But Hall ultimately figured out a way to redirect his grief—to transform it into ambition.
In 1969, after a split with Hall, the Swampers—who were now working with Jerry Wexler, a partner in Atlantic Records—opened the rival Muscle Shoals Sound Studio, where the Staple Singers, Paul Simon, Bob Dylan, and many others later recorded. But Hall kept going at fame. In 1970, he produced the Osmonds’ “One Bad Apple,” which went to No. 1 and earned him a Grammy nomination for Producer of the Year. He was inducted into the Alabama Music Hall of Fame, in 1985, and received the Grammy Trustees Award, in 2014.
Muscle Shoals remains remarkable not just for the music made there but for its unlikeliness as an epicenter of anything; that a tiny town in a quiet corner of Alabama became a hotbed of progressive, integrated rhythm and blues still feels inexplicable. Whatever Hall conjured there—whatever he dreamt, and made real—is essential to any recounting of American ingenuity. It is a testament to a certain kind of hope.
"Because the Night" is a song written by Bruce Springsteen and Patti Smith that was first released in 1978 as a single from the Patti Smith Group 1978 album, Easter. This version rose to No. 13 on the Billboard Hot 100 chart, as well as No. 5 in the United Kingdom, and helped propel sales of Easter to mainstream success.
The song has subsequently been covered by numerous artists, and at least two of these cover versions have been chart hits. A 1992 version of the song by Co.Ro was a hit in several countries in Europe and South America. It reached No. 1 in Spain and the Top 10 in Belgium, France, Greece and Italy. The following year, a live acoustic version was recorded by 10,000 Maniacs for MTV Unplugged. This recording reached No. 11 on the Billboard Hot 100, making it the highest charting version of the song in the U.S.
In 1987, the song was ranked No. 116 on NME magazine's list of "The Top 150 Singles of All Time". It remains the best-known song of Smith's catalog.
Go Ask Alice is a 1971 book about a teenage girl who develops a drug addiction at age 15 and runs away from home on a journey of self-destructive escapism. Attributed to "Anonymous", the book is in diary form, and was originally presented as being the edited "real diary" of the unnamed teenage protagonist. Questions about the book's authenticity and true authorship began to arise in the late 1970s, and it is now generally viewed as a found manuscript-styled fictional work written by Beatrice Sparks, a therapist and author who went on to write numerous other books purporting to be real diaries of troubled teenagers. Some sources have also named Linda Glovach as a co-author of the book. Nevertheless, its popularity has endured, and as of 2014 it had remained continuously in print since its publication over four decades earlier.
Intended for a young adult audience, Go Ask Alice became a widely popular bestseller. It is praised for conveying a powerful message about the dangers of drug abuse. Go Ask Alice has also ranked among the most frequently challenged books for several decades due to its use of profanity and explicit references to sex and rape, as well as drugs.
The book was adapted into the 1973 television film Go Ask Alice, starring Jamie Smith-Jackson and William Shatner. In 1976, a stage play of the same name, written by Frank Shiras and based on the book, was also published.
"Memory Motel" is a ballad song from English rock band the Rolling Stones' 1976 album Black and Blue. The song is credited to singer Mick Jagger and guitarist Keith Richards (named Richard at the time). It's one of the few which feature both members sharing lead vocals. The song is more than seven minutes long, one of the longest by the Rolling Stones.
Hannah honey was a peachy kind of girl; Her eyes were hazel and her nose was slightly curved....
Her eyes were hazel and her teeth were slightly curved; She took my guitar and she began to play, She sang a song to me, Stuck right in my brain... When I asked her where she headed for, "Back up to Boston, I’m singing in a bar
The lyrics talk of the fading love brought on by a one-night stand at said motel. The song describes the female subject as a strong, independent woman, comparable in many ways to the female subject of "Ruby Tuesday", with Richards repeated refrain:
She got a mind of her own and she use it well...