Category Archives: Rock music

#194 – You’ve Got A Friend

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#194 – You’ve Got A Friend by Carole King

 – I only have one Carole King story, but I think it’s pretty cool…

Sometime between 1986 and ’89 there was a country-western themed bar/concert club in New York City. It was somewhere in the upper East 20’s and either on Second or Third Avenue. I want to say it was called the Buffalo Roadhouse, but I can’t be sure. After an internet search I found a few places with the same name, but none seem to have once been located in that neighborhood. But rather than dwell on this, the one thing I’m positive about is that it was a short walk north from where I lived in Gramercy Park.

The place was one of the last Manhattan hold-outs from the Urban Cowboy fad that ran through the country during the early 1980’s thanks to the movie of the same name. That may not have been unusual for anywhere west of the Hudson River, but in New York City it represented another world. Where Studio 54, CBGB’s and the Mudd Club were the hot spots blasting out disco, punk or rock, now urbanites thought it was hip to line dance in cowboy boots, jeans and Stetsons, and actually attempt to ride mechanical bulls. But only after a few drinks of course.

One other fact I’m positive about is that I’ve never been on a mechanical bull in my life. The NY Subway was thrilling and untamed enough for my Urban Cowboy fix.

On the streets of Manhattan?

I remember the bar because it wasn’t a bad place to hang out and drew a big crowd on the weekends. But being seasoned New Yorkers, my crowd avoided the weekend rush and usually hit the cool places on off-nights. This particular memory goes back to a Sunday night.

The bar was big and what set it apart from the other cowboy wannabe establishments was a GIANT full-sized stuffed Buffalo that stood over the bar. On our first visit it was so high over the liquor shelves that we never even noticed it for the first hour or two. Then someone glanced up and said, “Look-it that!” As an animal lover and peacenik it definitely was the type of decoration that today would cause me to find fun in a different location. But with that seasoned late 1980’s New York mentality we had learned if you wanted to play pretend cowboy you had to hang out with the real cowboy trophies. And this was the closest we’d ever get to a real cowboy bar, even though the hired hands serving drinks and waiting tables spoke with New York accents.

In a separate large room behind the bar was a cowboy style night club with a wooden stage for live bands. There were also long wooden tables, wooden chairs, wooden walls and wooden “fences” leading to the bathrooms. The only thing I remember not being wooden were the toilets, which thankfully continued the New York trend for porcelain.

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On this Sunday night there was a cowboy band on stage made up of young guys who might have once been rockers, but were now playing electric guitars that amplified more of a “twang” than anything resembling a Keith Richards riff. Don’t get me wrong because they weren’t bad. In fact, with hindsight it’s possible to see they might have been a bit ahead of the coming trend that saw Garth Brooks and others really rock up the country genre during the 1990’s.

I was seated at a wooden table with a certain blonde who was my steady at the time, along with a few others from our usual entourage. I don’t recall having a problem carrying on a conversation over the live performance, but it was a show rather than just background music so we paid attention. At one point the singer announced their “manager” was in the audience and invited her up to sing a few songs.

The manager turned out to be Carole King.

A cool “chain” of events…

Now, I honestly don’t know if Carole King ever really “managed” a band. I’ve read her book, A Natural Woman: A Memoir, and never noticed this career position mentioned anywhere during her life story. So either it was not worth noting, forgotten, or possibly an inside joke among the musicians with Carole being more of a friend or supporter. The bottom line is it doesn’t matter. While we sat there sipping cold ones through longneck bottles, the legendary singer-songwriter walked on stage and sang a few songs with the band.

Of course we all recognized her from photos and television appearances. But with more honesty, I didn’t recognize the songs until the last one they performed, which was the classic Chains written by King and her former songwriting partner and husband, Gerry Goffin. I knew it because The Beatles covered Chains on their first album, Introducing The Beatles (in the U.S.) or Please Please Me (in the UK).

So this was a big deal.

I still remember her curly hair bouncing up and down as she bounced around on stage singing. And yeah (yeah, yeah) I’m sure we all sang along. When she finished, King sat down at a table with her entourage and as seasoned New Yorker’s we went back to our conversations.

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End of story? Yeah, but like I said it was pretty cool.

As for our Dream Song, King didn’t perform You’ve Got A Friend that night, but my waking mind was performing it on the morning of June 17th. My notes say I hadn’t heard it in awhile, which I find hard to believe because it’s one of the most played songs on my digital playlist. So even though a claim can be made it’s chained to my memory (apologies for a bad pun) we’ll add this one to the subliminal category and leave it at that.

They’ve got a friend

King’s version wasn’t the first I’d heard. That scoop goes to James Taylor who also released the song as a single in the spring of 1971 and scored the most radio airplay. Both were recorded with the same musicians, including King on piano and Taylor on acoustic guitar.

And for a little more honesty, I really didn’t care for the song when it first came out. The acoustic troubadour ballad singers were a little too laid-back for my personal tastes after the earlier excitement of Crosby Stills Nash & Young and John Lennon’s Working Class Hero. By ’71 I was ready to rock again with The Who, Led Zeppelin, Sly & The Family Stone, Rod Stewart and The Faces, and other artists that knew what a volume nob on an amplifier was meant for.

The biggest influence that year had to be The Rolling Stones who were in the midst of a “golden era” that blasted us with Gimme Shelter and Brown Sugar.

So it wasn’t until many years later I finally calmed down and listened to Carole King’s 1971 album, Tapestry. And the song that caught my attention most was You’ve Got A Friend. It may not be the only reason why the Broadway show based on King’s music is titled Beautiful, but that description certainly fits.

Chains was the memorable choice for a Manhattan country bar that Sunday night. But if she had sat down at the piano and given us You’ve Got A Friend, I’m sure there would’ve been more than a few urban cowboys and cowgirls putting down their longnecks to sing along. And the mechanical bull could’ve waited until she finished.

As mentioned, it’s a beautiful song. And for a beautiful rendition by Carole King, check out this video.

 

To purchase Carole King’s classic LP Tapestry with You’ve Got A Friend, visit Amazon.com.

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2017 – North Shore Publishing

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August 15, 1965 – The Beatles At Shea Stadium

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– It started earlier than you might think…

sidbernstein

Sid Bernstein

During the winter of 1963 Sid Bernstein, a New York producer and entrepreneur, decided to expand his horizons by taking a course in Political Science. The instructor said if students wanted learn about democracy they need to study Great Britain, so Bernstein trekked down to Times Square every week and bought the British newspapers.

After reading updates about the government, he turned to where his real interests were – the entertainment section. He noticed the name of a pop group called The Beatles. At first the articles were small, but each week they continued to grow in size. They also included two words about their performances that caught Bernstein’s eye:

SOLD OUT!

To his producer’s way of thinking, these were the same words that described fame-predicting appearances by Frank Sinatra and Elvis Presley, two of the BIGGEST names in showbiz. Since expanding his horizons could also mean taking a chance, he located the Beatles’ manager Brian Epstein and booked the group – then unknown in the U.S. – for two shows in February 1964 at Carnegie Hall in New York.

Epstein Beatles

Brian Epstein and “The Boys”

When dealing with Epstein there were always stipulations. If The Beatles were not getting radio airplay in the U.S. by December 1963, the deal was off. It was a long wait, but as history tells us they made the deadline. I Want To Hold Your Hand broke the airwave barrier, they were scheduled for three February appearances on The Ed Sullivan Show – and Bernstein SOLD OUT both shows at Carnegie Hall.

Following the Beatles summer and fall 1964 tour of North America, Bernstein took another chance and scheduled them to appear in the brand new, state of the art Shea Stadium in Flushing, Queens. Again there were stipulations that included no advertising without a paid deposit, but Bernstein made a bold guarantee and backed it up by selling 55,600 seats through word of mouth. Once again…

SOLD OUT!

Nothing on this scale for a pop concert had ever been attempted before. Elvis had performed a handful of stadium shows leading up to his army induction, but the largest had been in front of 26,000 fans at The Cotton Bowl. The Beatles had to more than double that number to fill Shea Stadium.

Dressing Room

Away from the crowd

On August 15, 1965 The Beatles landed on top of a building at the neighboring New York World’s Fair and were delivered into Shea Stadium via a Wells Fargo armored truck. The dressing room was crowed with visitors including Mick Jagger, Keith Richards and future kingpin business manager for Apple Corp and three of the four Beatles, Allen Klein.

If only Brian Epstein had known…

Their entire visit to New York, beginning Friday, August 13th through Tuesday, August 16th, was filmed for a Beatles In New York (not the title, but the idea) television special. Only backstage and concert footage was used for the final version.

Introduced by Ed Sullivan, John Lennon, Paul McCartney, George Harrison and Ringo Starr ran to a small stage set up over second base on the baseball playing field and performed ten songs in about thirty-seven minutes. Whether anyone heard them depended on where they were seated, if they were screaming – or if they were next to someone screaming. Many of the male fans thought they sounded great. Many of the female fans don’t remember.

Shea on stage

Never before in the history of popular music…

Filmed in 35mm, the quality of the concert footage is similar to blockbuster Hollywood movies of the era. For comparison, The Monterey Pop Festival and Woodstock movies were filmed in 16mm.

The resulting television special, The Beatles At Shea Stadium, was planned for holiday (Christmas) airing in December 1965. One member of the Beatles inner circle approved the version submitted by Ed Sullivan Productions, while five others didn’t. A secret recording session took place in January 1966 to correct the sound and the special wasn’t broadcast in the U.S. until a year later. By that time fans were only weeks away from the release of Penny Lane and Strawberry Fields Forever by a mustached, psychedelic-clothes-wearing, pre-Sgt. Pepper’s Lonely Hearts Club Band.

The film has been restored, color-corrected with both the overdubbed and original audio remastered for mono and stereo. It has yet to be released.

But on television that January evening in 1967 they were still the mop-topped Fab Four riding high on the release of their summer 1965 film, Help! And they played, sang, laughed and sweated during a hot New York August night in front of a SOLD OUT audience of 55,600 fans.

It was 50 years ago on August 15, 1965.

It was the birth of stadium rock.

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Dave Schwensen is The Classic Rocker and author of The Beatles At Shea Stadium and The Beatles In Cleveland. Visit Dave’s author page on Amazon.com.

Copyright 2015 – North Shore Publishing