WOMEN: DO RIGHT WOMAN

It's funny, my usual approach is to tap the theme into my iTunes search and see what comes up. No shortage with this one, both woman and women liberating dozens of possibilities. However, at just gone International Women's Day, neither honky tonk nor rainy day women seemed to be appropriate, as neither those toting black magic or those, when younger, with sturdy posteriors. In fact, finding a worthy song was harder than I thought, especially when I discovered Alice Cooper was a man. (Apologies if any of my colleagues were about to post said song, but, in hindsight, however many good versions I have of it, mainly by female artists, it is, isn't it, just a tad patronising?)

So, I did what anyone should do, and enquired of my soul. That is, my soul music collection. And Aretha had the answer. She usually does, even if the advice is written by a man.

And quite a man at that. Dan Penn. To be fair, it was a co-write, with Chips Moman, but it is Penn everyone recalls, a man better known for his writing and production skills than for his singing. Strangely, as he is no slouch in that department himself either. Here's a pretty good interview with him, and longtime jousting companion, Spooner Oldham, which gives a synopsis or his, and their, place in the world. And below the pair of them together, just playing the song.

I know I am missing a point here, what with it being a post supposedly celebrating women and to note the recent International Women's Day, and here am I putting up a paean to a man from Alabama. What can I say? I'm just a bloke. But when so many song lyrics in this genre are so straightforwardly sexist, including many sung by women, isn't it a change to have one which, despite a title that sounds like an instruction, is, on greater listening, not so bad a suggestion after all.

Take me to heart And I'll always love you And nobody can make me do wrong Take me for granted Leaving love unshown Makes will power weak And temptation strong A woman's only human You should understand She's not just a plaything She's flesh and blood Just like her man If you want a do right All days woman You've gotta be a do right All night man Yeah, yeah They say that it's a man's world But you can't prove that by me And as long as we're together baby Show some respect for me

Get it here and here.

Songs From Movies About Musicians: Gimme Shelter

[purchase 20 Feet From Stardom]

One of the best documentaries about musicians was 2013’s 20 Feet From Stardom, which focused on the background singers that we all have heard, but often don’t recognize by name. Not only was it interesting and filled with great music, the film addresses one of my regular writing subjects—why are some incredibly talented musicians not as famous as they probably should be. 20 Feet discusses many of the reasons—bad advice, bad luck, bad decisions, and even a lack of that certain something that allows you to traverse that 20 feet. I’ve mentioned the film before, in my piece about Darlene Love, who is probably the most famous of the singers featured in the film.

But maybe the most famous vocal discussed in 20 Feet, and for me the most memorable segment, was about Merry Clayton’s searing “rape, murder” vocal part in the Rolling Stones’ “Gimme Shelter.” Luckily, I don’t have to describe the scene in detail, because the video above is a clip from the movie, in which Clayton and Mick Jagger discuss the circumstances. But if you can’t watch the video, in short strokes, Clayton was called out of bed to sing for a band that she hadn’t heard of, was whisked to the studio, pregnant and in her pajamas, to add a searing and unforgettable part to what would become a classic song. Not only are the vocals powerful, the way her voice cracks only adds to the emotional impact of the part. In the video above, you can hear the isolated vocal tracks, which is cool. Here’s Clayton’s cover of “Gimme Shelter,” featuring occasional Stones sideman Billy Preston:



Clayton, born on Christmas Day (which led to her name) in New Orleans, was a veteran singer by the time the Stones roused her from bed. Her powerful vocals were also featured on, among other songs, Neil Young’s “The Old Laughing Lady,” and Lynyrd Skynrd’s “Sweet Home Alabama” (reluctantly). While Clayton never covered “Sweet Home,” she did do a great, soulful version of the song that it responded to:



In addition, she has had an acting career, both musically—Clayton was the Acid Queen in the first London stage production of The Who’s Tommy—and in movies and TV. More recently, she contributed vocals to albums by G. Love & Special Sauce and one of my least favorite bands, Coldplay.

Unfortunately, in 2014, Clayton was in a serious car accident that led to her having both legs amputated at the knees. She returned to the public eye in 2015, receiving an award from the Jazz Foundation of America (where Keith Richards performed "Gimme Shelter" in her honor with, among others, fellow 20 Feet star Lisa Fischer, who sang the song for years on tour with the Stones) and supporting Obamacare and the MusicCares charity that installed a chairlift in her home, and reportedly is working on a new album.

Standards: Bridge Over Troubled Water

Merry Clayton: Bridge Over Troubled Water

[purchase]

Despite recording six studio albums of her own (the first four of which are very much worth owning), and working with both Neil Young and Lynyrd Skynyrd (which I find amusing considering their Southern Man/Sweet Home Alabama rivalry), Merry Clayton is still best known for providing the soaring vocals on The Rolling Stones' Gimme Shelter.

Perhaps less known is that in 1970 she released her very own version on her debut album, also entitled Gimme Shelter. The best track on it however, in my humble little opinion, is her rendition of Bridge Over Troubled Water, originally by you-know-who.