BILLY PRESTON: WILDEST ORGAN IN TOWN (1966)
1) Midnight Hour; 2) Uptight
(Everything's Alright); 3) A Hard Day's Night; 4) Ain't Got No Time To Play; 5)
Love Makes Me Do Foolish Things; 6) The Duck; 7) Advice; 8) (I Can't Get No)
Satisfaction; 9) I Got You (I Feel Good); 10) It's Got To Happen; 11) Free
Funk; 12) The In Crowd.
The ever more swinging years find Billy Preston
still too shy and afraid to try something that deviates from the established
formula. He does continue to acknowledge the arrival of new trends, styles, and
fashions — covering contemporary pop hits by the dozen — but he does not dare
to sing, still limits his own songwriting to just a small handful of half-assed
instrumentals, and, most importantly, still shows little interest in playing
with a daring, competitive backing band.
In fact, most of the backing players were not
even listed in the credits here — with the exception of Sly Stone, not yet a
man of «The Family», but already a player on the scene, who is also credited
for arranging most of the tracks and co-writing two of Billy's three numbers.
Curious trivia bit: ʽAdviceʼ is probably the first recorded song on which you
get to hear Sly's trademark "I wanna take you higher" bit, even if
the excitement and enthusiasm on this track is on kindergarten level compared
with later Family Stone developments. For some reason, the two artists find it funny
to interweave the riff of ʽLouie Louieʼ into the melody — in a certain sense,
ʽLouie Louieʼ does take you higher,
but I wonder if my sense is the same as theirs.
Anyway, the only real difference is that, the
farther they go, the less these organ rearrangements closely resemble and mimic
the originals — ʽSatisfactionʼ, for instance, is practically unrecognizable
until the brass section starts playing the main riff, at which point you
understand that Billy was actually
translating Jagger's vocals to an organ setting all along. But he really
transforms it into a loose, festive R&B number (somewhat similar to Otis
Redding's take), completely changing the spirit of the Stones to something
more celebratory and less spiteful. (Which is not necessarily a good thing,
but a fairly common one with R&B adaptations of British Invasion tunes, so
we might just as well make our peace with the procedure).
Many of the covers are R&B standards in the
first place, though, and cannot be transformed too deeply — ʽIn The Midnight
Hourʼ, ʽI Feel Goodʼ — so, in the end, it is still more intriguing and curious
to look at Billy handle the other
stuff. If ʽSatisfactionʼ rolls along like a merry dance groove, then ʽA Hard
Day's Nightʼ, on the other hand, gets slowed down and played in almost
dirge-like fashion, which is only logical, if you ask me: this is the kind of rhythm that would be more appropriate for
someone who has just had «a hard day's night», «working like a dog». Yes, it's
sort of sad that the song loses energy, spirit, catchiness, memorability, and
every other reason to exist in the process — but nice, logical, reasonable try
anyway.
On a final note, beware of ʽFree Funkʼ: despite
the title, this is really a slow soul ballad, «freely» quoting from ʽGeorgia On
My Mindʼ and something else that I do not recognize. Not that the word «funk» had
a straight, unambiguous musical meaning in early 1966, of course, but even back
then, it would probably be associated with something carnal and sexy rather
than a slow moving, spiritually-oriented soul groove. Maybe the record people
accidentally switched the title with ʽIt's Got To Happenʼ — since both are
original non-hit compositions, who would be giving a damn anyway?
Overall, if you only want to have one album of Billy Preston
instrumentals, this might just as well be it, or just about any other one would
do (I would still lean towards 16 Yr.
Old Soul — back then, at least, this formula was still fresh and far away
from being run into the ground). A year later, Billy would follow it with Club Meeting, another similar
«experiment» that hardly merits its own review (the two LPs have been reissued
on a single CD in recent years), except for a brief mention that it does have a
few vocal parts, the first real Billy Preston singing on a Billy Preston album.
He also does ʽSunnyʼ and ʽSummertimeʼ. (I bet you're already as thrilled as I
am).
It is a little sad, actually, that in the end,
Billy had to spend most of the century's greatest musical decade in such a
state of skepticism over his own abilities — the years to come would prove that
he had much more to offer the world than credible, mildly imaginative organ
reworkings of other people's ideas. Who knows, maybe if he had spent those
«magic years» honing his individuality and creativity in more aspects than one,
he could have grown into a major star of the business. Then again, idle
speculation on the subject is none of our
business, either. Simple fact is — early Billy Preston is best enjoyed in a
minimal dosage. One LP only, or, better still, a self-made compilation.
Preferably without ʽGoldfingerʼ on it.
Personnel? A review without mentioning the name of even one of the sidemen on the record?
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