The sound of ’66
The portrait painted in 1966: 50 Years Ago Today, the BBC4 Arena documentary directed by Paul Tickell and based on Jon Savage’s recent book, was full of interesting things (notably a reminder of Jonathan Miller’s sensational quasi-psychedelic TV version of Alice in Wonderland). The mood Tickell strove to evoke, concentrating on a dour, monochrome paranoia, wasn’t the way I remember 1966 — a year only half a notch below its immediate predecessor in terms of cultural stimuli and general euphoria — but at least his programme had a point of view. And it also had, towards the end, a snatch of one of the greatest of all cover versions of a Lennon & McCartney song.
J.J. Barnes would eventually become a Northern Soul hero through tracks such as “Real Humdinger”, “Please Let Me In” and “Our Love (Is in the Pocket)”. His version of “Day Tripper” precedes and surpasses them, in my view. It was arranged and co-produced for Detroit’s Ric-Tic label by Andrew “Mike” Terry, a Motown studio regular whose fruity baritone saxophone solos could be heard on “Heat Wave”, “Where Did Our Love Go”, “This Old Heart of Mine” and many others. I love the way Terry takes on the riff from the Beatles’ original and, while keeping the driving 4/4 rhythm and the fuzz guitar, hardens up the groove, those trumpet stabs and flourishes adding an extra dimension behind Barnes’s Wilson Pickettish vocal. And presumably that’s James Jamerson, Paul McCartney’s bass-guitar hero, moonlighting from Hitsville USA to dig into the riff.
What gives the record its special immediacy is the grainy low-fi sound that would never have made it past Berry Gordy Jr’s quality control department. It was there on the original UK Polydor version I bought the week it came out in 1966, and it’s still there today, proudly resistant to any kind of digital clean-up technology.
Since we’re on the subject, there’s another favourite I’d like to mention. It’s Roy Redmond’s soulful version of “Good Day Sunshine”, arranged and produced by Jerry Ragovoy for the Loma label, Warner Bros’ soul subsidiary, in 1967. It has the lot: great laconic guitar intro, heat-drugged slow-drag beat, greasy southern horns, gospel-style female back-up choir, and an excellent lead vocal from another obscure soul-music hero. I believe McCartney himself had nice things to say about it, and no wonder.
* Ace Records have just announced the September release of Let It Be, the second volume in their Black America Sings Lennon & McCartney series. Vol 1 (titled Come Together) included Roy Redmond’s “Good Day Sunshine” among a quantity of other good stuff. J.J. Barnes’s “Day Tripper” isn’t on either volume, sadly. For that reason alone, there is bound to be a Vol 3.