Don Covay
Band members Related acts
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line up 1 - Don Covay (aka Donald Randolph) (RIP 2015) -- vocals
as The Jefferson Lemon Blues Band (1969) - John P. Hammond -- vocals, harmonica, rhythm guitar - Gerald Jemmott -- bass - Daniel Jones -- drums, percussion - Charles "Honeyman" Otis -- drums, percussion - Joe Richardson -- lead guitar, backing vocals - Butch Valentine -- bass, keyboards - Margaret Williams -- vocals, guitar
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- Don Covay and the Goodtimers - Pretty Boy - The Rainbows - Donald Randolph - The Soldier Boys - The Soul Clan
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Genre: soul Rating: 4 stars **** Title: See-Saw Company: Atlantic Catalog:
SD 8220 Country/State: Orangeburg, South Carolina Grade (cover/record): VG+/VG+ Comments: small top seam split; minor cover wear Available: 1 Catalog ID: -- Price: $70.00
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"See-Saw" track listing: (side 1) 1.) See-Saw (Steve Cropper) - 2:57 2.) The Boomerang (Horace Ott - Leroy Randolph) - 1:55 3.) Everything Gonna Be Everything (Ronnie Miller) - 2:28 4.) Fat Man (Leroy Randolph) - 2:32 5.) Precious You (Don Covay) - 2:43 6.) Iron Out The Rough (Booker T. Jones - David Porter - Steve Cropper) - 2:20
(side 2) 1.) Please Do Something (Ronnie Miller) - 2:43 2.) I Never Get Enough Of Your Love (Steve Cropper) - 2:44 3.) The Usual Place (Leroy Randolph) - 2:05 4) A Woman's Love (Don Covay) - 2:30 5.) Sookie, Sookie (Steve Cropper) -2:38 6.) Mercy, Mercy (Horace Ott) - 2:21
I’ll forever be indebted to British R&B bands like the Rolling Stones, the Pretty Things and the Downliner’s Sect for not only changing my life with their incredible music, but for also infecting me with an incurable obsession with American roots music. Noticing that their early albums were almost entirely comprised of cover songs sent me scrambling all over the place to track down the raw blues of Howlin’ Wolf and Slim Harpo, the trailblazing country of Hank Snow and Buck Owens, and lots of Southern soul. Mick Jagger was no Solomon Burke. Well aware of his limitations, he found a way to make it work by studying less technically accomplished singers like Don Covay. One listen to those falsetto notes he hits and you’ll know what I’m talking about. Covay was a prolific songwriter who penned an impressive string of hits for the likes of Aretha Franklin, Burke and Wilson Pickett. He was also one of the most overlooked soul singers of his generation. His first single, Bip Bop Bip, is a frantic ˜50s shouter wild enough to make Little Richard (who he once chauffeured for) sound like Fabian. After releasing a few more sides that were a bit derivative but great nonetheless, Covay finally hit his stride in 64' with the genre blurring cut Mercy, Mercy. A solid R&B groove was intact, but the prominent raw guitars (rumored to have been played by a young Hendrix) and crashing drums gave it a strong rocknroll edge, anticipating the garage boom that was just on the horizon. His pleading vocals convey a sense of desperation that even surpasses Pickett’s stellar rendition of the song. This single along with some equally crude tracks from the same era were collected on the 1966 LP See Saw. Everything Gonna Be Everything is an all-out stomper that’ll make you to wonder if he’s not being backed by the Pretties. Also included are some more straight-ahead soul songs he cut at Stax, featuring the tight, horn dominated sound and Steve Cropper licks that made the label famous. On the title cut and Iron Out the Rough Spots we find Covay neck and neck with best talent on the formidable Stax roster. See Saw is the epitome of a great mid-˜60s Southern soul album, perfectly balanced with the right amount of dance tunes and ballads. It was reissued on CD as a twofer with his terrific first LP Mercy. Razor and Tie released a decent anthology, which includes some of his earlier and later efforts. “Mercy Mercy” :D CD Reissue: 2000 | Koch Records | Buy Mercy!/See-Saw @ Amazon ] :) Vinyl Reissue: 2000? | Atlantic | Search eBay for Don Covay See Saw ] TRACKLIST 1. See-Saw 2. The Boomerang 3. Everything Gonna 4. Fat Man 5. Precious You 6. Iron Out the Rough Spots 7. Please Do Something 8. I Never Get Enough Of Your Love 9. The Usual Place 10. A Woman’s Love 11. Sookie Sookie 12. Mercy MercyDon Covay rides his most creative crest as a solo artist with this hearty collection of songs. The settings are simplistic for Atlantic Records, which recorded similar artists in lusher settings. But rawness is what makes these recordings arresting. A guitarist as well as a singer, Covay's pickings aren't buried in the mix, and you don't need a Geiger counter to detect the grooves. Most impressive are "See Saw," "Mercy Mercy," "Sookie, Sookie," and "Boomerang," a call to dance with the feeling of Major Lance singing a Curtis Mayfield song. On "Fat Man," you wonder if he's singing about his old Washington, D.C., buddy Billy Stewart. The two began their careers with the Rainbows.
Don Covay... the man who was being funky when funk still was a bad word. The pleasantly crazy Wildman of Soul, the inventor of dozens of the genre's classics and an ecclectic, spellbinding guitarist who recorded some of the rawest, least polished slabs of down and dirty Soul. No matching suits here, nor synchronized dance steps. The Don's second Atlantic LP, 'See Saw', is a masterpiece pure and simple. While not a huge hit upon its release, the LP has rightfully been reappraised since. Wacky as ever, Covay struts through "See-Saw" providing his own - hilarious, full-throttled, turky-like - backing vocals. Aretha Franklin's cover, recorded two years later, may have been the big hit, but it's Covay's original version that you'll want to check out first. The title-track is followed by the sped-up, fastpaced dance hall favorite "The Boomerang", another perky 'n' quirky Covay original that starts out with the 'is it a bird, is it a plane?' catchline and is gradually immersed in thick layers of Chi-sounding brassy goodness (also, two verses of Martha & the Vandellas huge "Dancing in the Street" are snuck in, heh!)... Maintaining a mid-tempo, loping beat on the funky and fierce "Everything's Gonna Be Everything" (that tambourine is hittin' something nasty), Covay launches into another high-energy soul romp with "Fat Man", namechecking one of his heroes, Fats Domino, in mid-song. Donning the balladeer's hat, Covay gets sweet 'n' sensitive Percy Sledge-style on the slow-grinding "Precious You", featuring his snappy guitar pluckings, only to put the mood into a decidedly bossa-nova by way of Stax Studios groove with the smouldering "Iron Out the Rough Spots". Hard sockin' tambourines, punishing horns and a relentless backbeat provide another funky background for the Don on "Please Do Something", after which he dips into one of his most beautiful ballads, "I Never Get Enough of Your Love", co-written with Steve Cropper, whose inimitable guitar style is all over the tune. Country-esque guitar noodling accompany Covay next on the all-out belter "The Usual Place", while "A Woman's Love" probably is the most sophisticated ballad here. The Don goes out on a rawkus, however... Aside the "Mercy, Mercy" classic, his first hit that was added here for good measure, it's the fiery, stompin' gutbucket proto-funk of "Sookie Sookie" that musta raised quite a few eyebrows back in '66. I mean seriously, that tune is just outta there... Don Covay Came, See-Saw and Conquered with this peerless collection of rougher-than-rough, earthy and sweaty Southern Soul. Published [Rating16160572] colinwill Mar 08 20244.00 stars Covay has a really sweet Soul voice, and his phrasing is obviously a really big influence on Mick Jagger. He's a strong song writer too, there's at least three genre classics on this record and the supporting material is really strong. The music is raw soul '66. The turkey croak backing vocals on some songs are strange but effective. An absolute knockout party soul album Published [Rating220644199] Johnbarard Jan 19 20223.50 stars A album that leads more towards the pop side of early soul sound. Not that that's a bad thing, but it does make this album a little less adventurous than soul albums in later years would be. "The Boomerang" in particular has an interesting intro, but quickly turns into a playful song about the eponymous dance (they don't make them like that anymore, do they?). These songs are fun, with just a hint of R&B (and some doo-wop) mixed in, but aren't really meant for any introspection or deeper examination - what you hear is what you get. Again, nothing wrong with that, but just good to know what to expect going in. There's entertainment to be had here in Don's vocals and the organ and brass, with a light mood and subject matter to match. And not sure why, but "Precious You" brings the Rolling Stones to mind. Published [Rating164893250] Kevvy Jun 08 20054.00 stars After the first handful of listens, See-Saw gives the impression of being a top-loaded CD with the fun songs like "Everything Gonna Be Everything," "See-Saw," "The Boomerang," and "Fat Man" being the early favourites. Given a wee bit of time, See-Saw reveals itself as the total package. The aforementioned fun songs (include the album's closer, "Sookie Skookie," in that list) teaming up with the slowburners like "Precious You" and "Iron Out The Rough Spots," and the midtempo chillouts like "The Usual Place" makes for a flat-out cool groove. There's a reason Mik Jagger took it upon himself to emulate Don Covay's up-front delivery, and the weird-falscetto backing vocals pre-date Tom Waits' stab at it by about 20 years.
"See Saw" is a song written by Don Covay and Steve Cropper and performed by Covay. The song reached No. 5 on the U.S. R&B chart and No. 44 on the Billboard Hot 100 in 1965.[1] The song appeared on his 1966 album, See Saw.[2] Aretha Franklin version Aretha Franklin released a version of the song that reached No. 9 on the U.S. R&B chart, No. 14 on the Billboard Hot 100[3] and No. 12 on the Cashbox Top 100 in 1968.[4] The song appeared on her 1968 album, Aretha Now.[5] Other versions Georgie Fame recorded the song for his 1966 album Sweet Things. American jazz organist Dr. Lonnie Smith recorded an extended instrumental version on his 1969 album, Turning Point (Blue Note BST-84313); recorded at Rudy Van Gelder Studio on January 3, 1969.[6] Chart performance Don Covay Chart Peak position U.S. R&B chart 5 Billboard Hot 100 44 Aretha Franklin Donald James Randolph (March 24, 1936 – January 31, 2015),[1] better known by the stage name Don Covay, was an American R&B, rock and roll, and soul singer-songwriter most active from the 1950s to the 1970s. His most successful recordings include "Mercy, Mercy" (1964), "See-Saw" (1965), and "It's Better to Have (and Don't Need)" (1974). He also wrote "Pony Time", a US number 1 hit for Chubby Checker, and "Chain of Fools", a Grammy-winning song for Aretha Franklin. He received a Pioneer Award from the Rhythm and Blues Foundation in 1994. Writing in the Washington Post after his death, Terence McArdle said, "Mr. Covay’s career traversed nearly the entire spectrum of rhythm-and-blues music, from doo-wop to funk."[2] Early life Covay was born in Orangeburg, South Carolina. His father, a Baptist preacher, died when Covay was eight.[3] He resettled in Washington, D.C., with his mother Helen Zimmerman Randolph and his siblings in the early 1950s and initially sang in the Cherry Keys,[note 1] his family's gospel quartet. He crossed over to secular music as a member of the Rainbows and made his first recordings with that group in 1956.[4] Career Covay's solo career began in 1957 as part of the Little Richard Revue, when he worked both as the star's chauffeur and as an opening act. A single, "Bip Bop Bip", on which Covay was billed as "Pretty Boy", was released on Atlantic, produced by Little Richard and featuring his backing band, the Upsetters.[5] Over the next few years, Covay drifted from label to label, eventually signing with Columbia Records in 1961, but success remained elusive. Later that year, however, he had his first chart success, when "Pony Time", a song he co-wrote with fellow Rainbows member John Berry, reached No. 60 on the Billboard pop chart. It was issued by the small Arnold label and credited to his group, the Goodtimers. The song was later recorded by Chubby Checker and became a US No. 1 single.[4] In 1962, Covay had his first hit on Cameo-Parkway Records under his own name, "The Popeye Waddle", a dance-oriented track.[5] He also started writing songs for Roosevelt Music in the Brill Building in New York City, writing a hit for Solomon Burke, "I'm Hanging Up My Heart for You".[6] Gladys Knight & the Pips reached the US Top 20 with Covay's song "Letter Full of Tears", and Wilson Pickett recorded Covay's "I'm Gonna Cry (Cry Baby)" as his first single on Atlantic.[7] His singing career continued to falter until 1964, when he had one of his biggest pop hits on the small, Atlantic-distributed Rosemart label with "Mercy, Mercy".[5] It was co-written with Goodtimers guitarist Ronnie Miller, which established Covay's earthy bluesy style, and featured a young Jimi Hendrix on guitar. The following year the song was recorded by the Rolling Stones for their album Out of Our Heads, on which Mick Jagger closely followed Covay's singing style.[4] Atlantic bought Covay's contract and minor R&B hits followed, but it was a year before Covay returned to the pop chart, with "See-Saw", co-written with guitarist Steve Cropper and recorded at Stax,[5] along with "I Never Get Enough of Your Love", "Sookie Sookie" (both also co-written by Covay and Cropper), and "Iron Out the Rough Spots" (by Cropper, Booker T. Jones, and David Porter).[8] His relationship with Stax's staff has been described as difficult, both with its musicians[9][10] and with its management.[11] Cropper ascribed it to a clash between executive Jim Stewart's more conservative persona and Covay's unpredictable creative character. Cropper emphasized his appreciation of Covay: "I loved Don to death. We get along great but I don't think Jim and them understood Don. He thinks in different areas and he was kind of driving people bananas."[11] According to Carla Thomas, the musicians enjoyed working with artists sent by Atlantic, including Covay and Wilson Pickett, but resented having to give them studio time.[10] On "See-Saw", Covay "achieved an even more powerfully soulful edge;" but he did not maintain momentum as a performer, and most of his later recordings for Atlantic failed to chart.[5] However, his songwriting continued to be successful, as he wrote songs for Etta James, Otis Redding, Little Richard (his 1965 hit, "I Don't Know What You Got but It's Got Me", for Vee-Jay and a couple of soul dancers for Brunswick, released in 1967), and notably Aretha Franklin, who had a hit in 1968 with "Chain of Fools", a song Covay had written some fifteen years earlier.[5] Franklin won a Grammy for her performance.[4] Over the years Covay's compositions have been recorded by such varied artists as Gene Vincent, Wanda Jackson, Connie Francis, Steppenwolf, The Daughters of Eve, Bobby Womack, the Rolling Stones, Wilson Pickett, Small Faces, Grant Green, Bonnie Raitt, and Peter Wolf, among others.[citation needed] Covay organized the Soul Clan, a collective venture with Solomon Burke, Joe Tex, Ben E. King and Arthur Conley, in 1968, but it was relatively unsuccessful.[5] In 1969, he joined former Shirelles guitarist Joe Richardson and blues and folk singer John P. Hammond to form the Jefferson Lemon Blues Band. The band's single "Black Woman" made number 43 on the R&B chart in 1970[12] and they recorded two albums: The House of Blue Lights and Different Strokes for Different Folks, before splitting up.[13][14] Covay
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Genre: blues Rating: 4 stars **** Title: The House of Blue Lights Company: Atlantic Catalog:
SD 8237 Country/State: Orangeburg, South Carolina Grade (cover/record): VG+/VG+ Comments: small punch hole lower right Available: 1 Catalog ID: -- Price: $70.00
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In my humble opinion the late Don Covay deserves the same credit and recognition as contemporaries such as Solomon Burke, Arthur Conley, Ben E. King and Joe Tex. I particularly mentioned those four artists given, along with Covay, they were featured on one of my favorite '60s soul albums - "Soul Clan" (ATCO catalog number SD 33-21).
Self-produced,
1969's "The House of Blue Lights" was quite
different from Covay's first two studio albums. Both 1965's "Mercy!"
and 1966's "See-Saw" had featured first-rate
collections of Southern soul. In contrast, credited to "Don Covay
& the Jefferson Lemon Blues Band", this set found Covay and company
turning their attention to Chicago-styled electric blues. Featuring a
mixture of classic blues covers (Big Bill Broonzy,
Johnnie Johnson and
Tampa Red) and
Covay originals, it was definitely a change in direction: probably a shock
for anyone expecting to hear soul tunes like "
"The House of Blue Lights" track listing: (side 1) 1.) Key To The Highway (Big Bill Broonzy - Charles Segar) - 2:23 rating: *** stars The album opened up with a nice electric blues cover of Big Bill Broonzy's "Key To The Highway". Nice guitar solo from Joe Richardson. Admittedly the effects on Covay's voice were odd, sounding like he was recording the track over a long distance phone line. The song also appeared as the "B" side on Covay's 1970 "Everything I Do Goin' Be Funky" 45. 2.) Mad Dog Blues (Don Covay - Joe Richardson) - 3:29 rating: *** stars The first of six Covay originals, "Mad Dog Blues" added a funky edge to this blues number. Energetic and funny, the dog sound effects always make me smile. 3.) The Blues Don't Knock (Sidney Wyche - John Denioa) - 3:11 rating: *** stars I guess most folks think of the late Johnnie Johnson when they hear "The Blues Don't Knock". Compete with lots of flute, Covay's jazzy arrangement certainly wasn't going to make you forget Johnson's version, but it wasn't bad. 4.) Blues Ain't Nothin' But a Good Woman on Your Mind (Don Covay - Joe Richardson) - 3:13 rating: **** stars Powered by Danny Jones' gunshot drums the rollicking "Blues Ain't Nothin' But a Good Woman on Your Mind" was one of my favorite performances. The lyrics were hysterical. 5.) The House Of Blue Lights (Part 1) (Don Covay) - 7:33 rating: **** stars The Hammond B-3 and harmonica opening has always reminded me of something Eric Burdon and the Animals might have recorded. The subject matter certain recalled "House of the Rising Sun" and Covay's growl underscored the Burdon comparison. I've always wondered about the instrumentation - was someone playing a Coral electric sitar? Admittedly I'm not a big blues fan, but this was an exception.
(side 2) 1.) Four Women (Don Covay) - 3:35 rating: **** stars Love the raucous guitar sound Richardson produced on this one ... Interestingly Covay's growling vocals have always reminded me of a young Mick Jagger. I might have given it a fifth star were it not for the irritating flute, 2.) Steady Roller (Don Covay - John Hammond, Jr.) - 3:17 rating: ** stars Given it was co-written with folkie John Hammond Jr., it shouldn't come as a surprise to discover 'Steady Roller' was a slice of acoustic country-blues. Authentic, but hardly original, or engaging. 3.) Homemade Love (Don Covay) - 6:26 rating: **** stars Opening with some un-credited barrelhouse piano and Steve Cropper-styled licks, 'Homemade Love' unexpectedly morphed into a steaming slice of Southern soul. Sharing lead vocals with Margaret Williams and Richardson, this was the album's most atypical performance and also the best song. 4.) But I Forgive You Blues (Hudson Whittaker) - 2:31 rating: *** stars Covay's cover of Tampa Red's 'But I Forgive You Blues' found him returning to classic blues territory. Some of the funnier blues lyrics I've heard and nice guitar solo. Guessing it was Richardson on backing vocals. 5. ) Shut Your Mouth (Dave Clowney) - 3:24 rating: *** stars Powered by Butch Valentine's thundering bass and John Hammond's harmonica, Covay turned in a spirited cover of the Dave "Baby" Cortez tune. My only complaint is that just as "Shut Your Mouth" was really starting to get steamy it faded out 6.) The House of Blue Lights (Part 2) (Don Covay) - 4:04 rating: **** stars I'm sure Covay and engineer Herb Abramson had a reason for dividing the title track into two parts, though the logic was lost on me. "Part 2" opened up with Covay backed by sitar. When the Hammond B-3 and John Hammond's harmonica kicked in the tune exploding into Solomon Burke territory. The sitar coupled with Covay's increasingly disturbing vocals pushed the performance to the edge of lysergic territory. His manic laugh pushed it over the edge. Like the first part, the arrangement and lyrical content reminded me of The Animals cover "House of the Rising Sun".
Credited to "Don Covay & The Jefferson Lemon Blues Band" and far more soul oriented than anything on the album,, there's also a non-LP single:
- 1969's "Sweet Pea (Don't Love Nobody But Herself)" b/w "C.C. Rider Blues" (Atlantic catalog number 45-2609)
Neither the album or the follow-on single did anything commercially and Covay quickly returned to a more soul oriented sound for 1972's "Different Strokes for Different Folks" and follow-up albums.
© Scott R. Blackerby June 2024
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Genre: soul Rating: 4 stars **** Title: Different Strokes for Different Folks Company: Janus Catalog:
JLS 3038 Country/State: Orangeburg, South Carolina Grade (cover/record): VG+/VG+ Comments: -- Available: 2 Catalog ID: 2818 Price: $50.00
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Ending his long term relationship with Atlantic Records (the label seemed happy to see him move on), 1971's "Different Strokes for Different Folks" found Don Covay signed to the small Janus label. Credited as his second collaboration with the Jefferson Lemon Blues Band (thoughthe the liner notes didn't bother to provide performance credits), the album was largely recorded in Muscle Shoals. Covay sounded in great form throughout, but musically the set was seriously eclectic - literally all over the genre roadmap. Varied certainly necessarily a bad thing, but this time around it was hard to figure out what Covay was trying to prove. Song-for-song the album was quite impressive with the man showing he was equally comfortable with funky, Gospel, conventional soul. and even rock oriented numbers. By my count eight of the ten tracks were keepers. Hard to pick favorites, but my top three would be the ballad 'In the Sweet Bye and Bye', the raw closer 'If There's a Will, There's a Way'; the Stax-flavored single 'Sweet Thang'
"Different
Strokes for Different Folks" track listing: 1.) Sweet Thang (Don Covay) - 3:32 rating; **** stars His relationship with Stax may have ended, but the bubbly 'Sweet Thing' made it clear Covay had learned his lessons well, taking that label's instantly recognizable sound with him to Janus. All the ingredients were present on this tune - Steve Cropper styled guitar; killer rhythm section, and the punchy horns. Add in the fact this was one of Covay's most commercial tunes and it wasn't a surprise the song was tapped as a single:
1972's 'Sweet Thing' b/w 'Standing in the Grits Line' (Janus catalog number J 164)
2.) Daddy, Please Don't Go Out Tonight(Eva Darby) - 4:20 rating: *** stars Normally I hate songs which open with a spoken word vamp ... Accordingly 'Daddy, Please Don't Go Out Tonight' got off to a bad start with Covay's introduction going on for almost a third of the song. Once you got past the stereotyped intro (scared war veteran comes home and does bad things to his wife and family), the song morphed into a Clarence Carter-styled tale of heartbreak and country-soul philosophy. Exceedingly sad. Not sure why it was released as a single when there were so many better choices on the album.
- 1972's 'Daddy, Please Don't Go Out Tonight ' b/w 'Why Did You Put Your Shoes Under My Bed' (Janus catalog number J-181)
3. Why Did You Put Your Shoes Under My Bed (Don Covay) - 3:42 rating; **** stars The driving arrangement and Covay's snarling, spiteful delivery made this an out and out rock song ... This is what Mick Jagger always wanted to sound like. John Hammond provided the frenzied harmonica solo. 4.) Stop By (Don Covay - Jimmy Norman) - 3:20 rating; **** stars Another tune where Covay's delivery reminds me of Jagger trying to sound soulful ... Kicked along by a nice piano, the bluesy ballad 'Stop By' had a distinctive old-school feel. Very nice. "All you have to do is remember his name - Don Covay ..." 5.) Bad Luck (Don Covay) - 4:15 rating; **** stars Covay at his slinkiest and most ominous ... Covay went ahead and bleeped out what I'm guessing was a not-ready-for-the-radio lyric. Again, Jagger could only dream about sounding this authentic. 6.) Hitching a Ride (Peter Callander - Mitch Murray) - 3:50 rating: ** stars So the English studio group Vanity Fare had a big hit with their version of 'Hitching a Ride'. Covay didn't really mess with the arrangement but injecting a frantic soul edge really didn't do anything to improve the song. The result was the album's first disappointment.
(side 1) 1.) Standing in the Grits Line (Don Covay) - 4:15 rating; **** stars The opening lyrics were guaranteed to make you smile ... Hardcore, bluesy funk tune with a nice hook. 2.) In the Sweet Bye and Bye (Don Covay) - 7:15 rating; **** stars Opening up with some stark "church" piano, 'In the Sweet Bye and Bye" was one of the prettiest ballads Covay ever wrote. It was also one of the most in-your-face slices of social commentary. With a multi-tracked lead vocal that went from angelic to manic, it was interesting to hear him singing in a higher than normal register. Joe Richardson on lead guitar ? Wonderful performance. 3.) Ain't Nothing a Young Girl Can Do (Don Covay) - 3:05 rating; **** stars With a breezy and easy going melody 'Ain't Nothing a Young Girl Can Do' sounded like a track that had been recorded earlier in Covay's career. Not sure if it was Covay being multi-tracked, of Covay and Hammond sharing vocals. 4.) What's In the Headlines Today? (Don Covay) - 4:45 rating: *** stars Opening with some kazoo, 'What's In the Headlines Today?' was a sweet acoustic folk tune wrapped in social commentary ... 5.) If There's a Will, There's a Way (Don Covay) - 3:33 rating; **** stars Sounded like it was recorded live-in--the-studio, warts and all. It was certainly a bit raw, but made for one of the album's most impressive performances.
© Scott R. Blackerby June 2024
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Genre: soul Rating: 4 stars **** Title: Super Dude 1 Company: Mercury Catalog:
SRM-1-653 Country/State: Orangeburg, South Carolina Grade (cover/record): VG+/VG+ Comments: -- Available: 2 Catalog ID: 2340 Price: $25.00 |
1972 saw Don Covay hired by Mercury Records as an A&R executive. In addition to helping discover talent for the label, the position gave Covay an opportunity to record an album for Mercury and boy was it a doozy.
Self-produced, 1973's "Super Dude 1" marked Covay's first album in four years and made it perfectly clear he hadn't lost any of musical edge over that timeframe. Popular tastes may have been moving to disco and funk, but regardless of whether they wanted it or not, Covay was going to feed his audience a much-needed collection of old-school soul. Tracks like 'Overtime Man', 'I Stayed Away Too Long', 'I was Checkin' In When She was Checkin' In', and 'Somebody's Been Enjoying My House' made it clear Covay remained the king of the "cheating heart" song. In addition to having a great voice, Covay's keen sense of humor (check out the detailed list of cheating evidence in 'Somebody's Been Enjoying My House'), and his innate sense of justice (cheaters seemingly always got their just rewards). The album was a complete success. For some odd reason Mercury decided to split the Gospel-tinged ballad 'Leave Him' into two parts and scatter them across both sides of the album. That essentially destroyed the song's integrity. Elsewhere, Covay's reggaefied cover of Chuck Berry's 'Memphis' was just odd, sounding like a Johnny Nash tune. Still, all-in-all it was a nice comeback.
"Super
Dude 1" track listing: 1.) Overtime Man (Don Covay) - 3:04 rating: **** stars Released as the lead-off single, 'Overtime Man' was a classic slice of Covay's never-too-subtle style of cheatin' heart man. Powered by a playful little guitar riff and some nice Muscle Shoals horns, this a great showcase for Covay's slinky, but ominous voice. If you saw this guy wandering around your home, get your baseball bat out. LOL.
- 1972's 'The Overtime Man' b/w 'Dungeon Number' (Mercury catalog number 73311)
2.) Leave Him, Part 1 (Don Covay - P. Griffin) - 4:47 rating: **** stars I've never been a big fan of spoken word introductions, but in this case Covay was "driving a Mustang" when he set up his rendezvous. 'Leave Him, Part 1' was a slow, old-school, Gospel-tinged ballad that would have made Solomon Burke proud. Interesting to hear Covay multi-tracked voice handling both the main vocals and the falsetto backing harmonies. 3.) I Stayed Away Too Long (Don Covay) - 3:18 rating: *** stars Another bouncy cheating song - thought this time around he was the victim. 4.) I was Checkin' In When She was Checkin' In (Don Covay) - 4:20 rating: **** stars Having gone through a hideous divorce (I wasn't the cheater), I'd suggest this deserves to be one of the holy (or unholy) trinity of '70s cheatin' songs. Showcasing Covay's pleasing vocal, the tune was simultaneously hysterically funny and heart breaking. Classic example of "what is good for the goose is good for the gander." The song was also tapped as the album's second 45:
- 1973's 'I Was Checkin' Out She Was Checkin' In' b/w 'Money (That's What You Want)' (Mercury catalog number 73385)
5,) Hold You To Your Promise (Don Covay) - 2:32 rating: **** stars The keyboards powered 'Hold You To Your promise' was one of the album's sleepers with a refrain that snuck into the back of your head and wouldn't leave. 6.) Memphis (Chuck Berry) - 3:20 rating; ** stars Frankly I'm not sure what inspired Covay to redo this Chuck Berry classic as a reggae tune. Covay's voice actually sounded pretty good trying to handle the reggae pathos, but the arrangement was kind of pedestrian. This one actually sounds a lot like a Johnny Nash tune. The song was tapped as a 45 in Holland and the UK:
- 1973's 'Memphis' b/w 'Leave Him, Part 1' (Mercury catalog number 6052 258)
(side
2) Hum, sounds like a second-rate take on Betty Wright's 'Clean Up Woman'. 2.) Somebody's Been Enjoying My House (L. Scott - E. Darby) - 6:01 rating; **** stars I always have to smile when I hear this one - one of three cover tunes, 'Somebody's Been Enjoying My House' found Covay providing one of his prettiest vocals over a lovely melody and heartbreaker lyric. The way Covay itemized the bits of cheating evidence was a hoot. Did you really want this guy hanging' around your home ? This was the album's third single:
- 1973's 'Somebody's Been Enjoying My Home' b/w ' Bad Mouthing' (Mercury catalog number 73430) 3.) Bad Mouthing (E. Darby - N. Jean) - 3:26 rating: *** stars Hum, Covay speeding things up with a tune that sounded like it had a touch of disco in the mix. Different, and took awhile to register, but ultimately the take-no-prisoners lyrics were kind of neat. 4.) Leave Him, Part 2 (Don Covay - P. Griffin) - 3:23 rating: *** stars Always wondered why Covay broke the tune into two sections and spread them across the two sides of the LP. While it was as pretty as Part 1, the second section sounded a bit lost and forlorn. 5.) Money (That's What You Want) (Barry Gordy - J. Bradford) - 3:00 rating: **** stars Geez, if like me, you thought this was going to be another faceless cover of the old Motown chestnut .... Wrong ! Covay gave this one a full James Brown funk update. Totally unexpected. 6.) Don't Step On a Man When He's Down (Don Covay - H. Hall) - 2:37 rating: *** stars Covay adding a but of country-Gospel to his repertoire. Interesting change in vocal timbre on this one. Also seemed to a bit of social commentary.
Having suffered a series of strokes Covay died of related complications in January 2015.
© Scott R. Blackerby June 2024
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Mercy Mercy" or
"40 Days - 40 Nights". Surprise was certainly my initial
reaction. I've always wondered about the abrupt change in musical
direction. Sheer speculation on my part, but perhaps seeing the likes
of Cream, Fleetwood Mac, Savoy Brown, The Rolling Stones, Ten Years After,
etc. cashing-in on electric blues Covay decided he could grab a slice
of the pie. About all I can say is that having been born and raised in
Orangeburg South Carolina and having paid his dues as a recording artist for
a decade and a half, Covay certainly deserved a fair share. These eleven
performances were uniformly good, but my biggest issue stemmed from the fact
I simply wasn't a big blues fan. Overlooking that statement I enjoyed found
myself enjoying tracks like the rollicking "Blues Ain't Nothin'
But a Good Woman on Your Mind", "Four Women" and reminding me
of Eric Burdon and the Animals, the two part title track and The Stones-styled
"Four Women". It is hard to teach an old dog new tricks so
it shouldn't come as a surprise to learn my favorite performance was also
the album's lone "soul" song. A Covay original, the blazing
'Homemade Love' featured guitarists
Margaret Williams and Joe
Richardson sharing lead vocals. Awesome performance.
