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Baby Baby Baby You Know That I Love You

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1975 song past George Harrison

"Ooh Baby (Y'all Know That I Dear You)"
Song by George Harrison
from the album Extra Texture (Read All Almost It)
Released 22 September 1975
Genre Soul
Length 3:59
Label Apple
Songwriter(s) George Harrison
Producer(due south) George Harrison

"Ooh Baby (You Know That I Love You)" is a song by English musician George Harrison, released in 1975 on his anthology Extra Texture (Read All About Information technology). Harrison wrote the composition as a tribute to American singer Smokey Robinson, whom he often identified as ane of his favourite vocalists and songwriters. The song was intended as a companion slice to Robinson'due south 1965 hit with the Miracles, "Ooo Baby Baby", and its inclusion on Actress Texture contributed to that album's standing every bit Harrison'due south soul music album. His impersonation of Robinson'south celebrated vocal fashion on the track, including portions sung in falsetto, contrasted with Harrison's hoarse, laryngitis-marred singing on his 1974 North American tour and the poorly received Night Horse anthology.

Harrison recorded "Ooh Infant" at A&One thousand Studios in Los Angeles between April and June 1975, with bankroll from rock musicians Jesse Ed Davis, Gary Wright, Klaus Voormann and Jim Keltner. In addition, the recording features an overdubbed horn section comprising Tom Scott and Chuck Findley. The song's sombre tone and ho-hum tempo reflect Harrison'south down-hearted mood post-obit the criticism of his tour the previous year. Partly equally a result of these solemn qualities, the track is held in low regard by several music critics. Some commentators instead highlight "Pure Smokey", released on Harrison's 1976 album Thirty Three & 1/iii, every bit the more than effective of his tributes to Robinson.

Groundwork [edit]

Smokey Robinson (centre) and the Miracles performing on an ABC Television special in 1970

George Harrison biographer Alan Clayson has written that, while all of the Beatles were influenced by Tamla-Motown artists in the early and mid 1960s, Harrison "listened hardest" to the Miracles, and specially the group's pb singer, Smokey Robinson.[1] In interviews during the 1970s, Harrison frequently praised Robinson as a vocalizer and a songwriter,[2] [three] [iv] and once described him as having an "effortless butterfly of a phonation".[1] While the influence of soul music had been axiomatic in Harrison'southward 1971 hitting song "What Is Life", it was a genre that he began to embrace more obviously later in the decade, beginning with his 1974 collaboration with Faces guitarist Ron Wood, "Far East Man".[v] Harrison's version of that song appeared on his Night Horse anthology,[6] a release that, like his concurrent N American tour with Ravi Shankar, was vilified past some sections of the music press, notably Rolling Stone mag,[7] a publication that had traditionally championed his piece of work.[8]

This critical backfire left Harrison emotionally battered,[9] and came every bit a farther source of personal upheaval following his split with wife Pattie Boyd in July 1974.[10] [11] Author Robert Rodriguez remarks on Harrison's choice of musical direction for his next anthology, Actress Texture (Read All About It): "Since it adult into a discernible genre in the late '50s/early on '60s, soul [music] – equally an outgrowth of blues – was the medium of selection amidst the oppressed to express their interactions with a world (or a romantic partner) that oft misunderstood or abused them. Every bit such, information technology proved the perfect format for George in his efforts to work through his many issues."[12]

Harrison wrote the slow soul carol "Ooh Infant (You Know That I Love Yous)" in the spring of 1975, shortly before starting recording for Extra Texture.[13] The song was Harrison'due south musical tribute to Robinson.[3] [xiv] In an interview held at his Los Angeles abode that April, with disc jockey Dave Herman,[15] Harrison included Smokey Robinson among his preferred artists, along with Shankar, Bob Dylan and Eric Clapton, and added: "Musically, he's so sweet ... he makes you experience squeamish – he makes me feel good."[16] [17]

Limerick [edit]

In his musical biography of George Harrison, While My Guitar Gently Weeps, Simon Leng describes the song every bit a "spiritual blood brother" to the Miracles' 1965 hitting "Ooo Infant Baby".[18] Leng writes that Harrison employs "all manner of subtle chord voices" in the composition, including "elegant, jazzy thirteenths and major ninths".[18] Author Ian Inglis comments on Harrison's "unexpectedly mournful" tune and suggests that the song "betray[s] a standing, pessimistic reflection on recent events and circumstances in his life".[xix]

In an example of what Clayson identifies as the sparse, "cursory" lyrics institute on much of Actress Texture,[xx] the words to the chorus in "Ooh Baby (You Know That I Love You lot)" repeat and improvise on the song title.[21] Inglis describes this lyrical arroyo as "simplistic" and "seek[ing] to create emotion through mere repetition".[22]

In the 2 verses,[21] Harrison tells his lover – presumably Olivia Arias, Inglis suggests,[xix] his girlfriend and abiding companion since Oct 1974:[23]

I won't say it'due south forever
Right now, we're together ...

I will be where you want me
I will endeavour to keep y'all happy ...

As with other songs of his that Leng terms "[obvious] pop cuts", such every bit "Don't Let Me Look Also Long" and "Can't Stop Thinking Near You",[24] Harrison makes no mention of "Ooh Baby" in his 1980 autobiography, I, Me, Mine.[25] While writing the song in 1975, Harrison began a second tribute to Robinson, titled "Pure Smokey".[26] The latter composition was released on Xxx Three & 1/three (1976), a collection noted for Harrison's apparent rediscovery of his gift for creating accessible melodies.[27]

Recording [edit]

The Extra Texture album is "unique within the Harrison catalog", Rodriguez writes, "as substantially an LP-length circuit into soul".[28] While noting a pragmatic, commercial arroyo on Harrison's part with regard to making Extra Texture, Leng suggests that "Ooh Baby (Y'all Know That I Dearest You lot)" was designed to create "crossover appeal to the R&B audience".[29] Harrison recorded the anthology in Los Angeles during the late spring and early summer of 1975, while working on business related to his A&M Records-distributed characterization, Dark Horse Records,[xxx] a recent signing to which was the soul group Stairsteps.[31] Among several concerts the couple attended during their time in Los Angeles,[four] [32] Arias recalls that she and Harrison watched Robinson perform at the Roxy and that the vocalist was "really flattered" by Harrison's enthusiasm for his music.[33] [nb ane]

Harrison taped the basic track for "Ooh Baby" at A&M Studios in Hollywood on 25 April.[34] Despite his credible intention to create a genuine soul recording, Harrison worked with the same musicians associated with his previous, UK-recorded albums:[35] [36] Gary Wright (Fender Rhodes[37] electrical piano), Klaus Voormann (bass) and Jim Keltner (drums).[38] [nb 2] In addition, Jesse Ed Davis – who performed with Harrison, Voormann, Keltner and others at the Concert for Bangladesh shows in August 1971[42] – joined Harrison on electric guitar.[43] Harrison's two guitar parts were treated with a Leslie rotary effect.[37] Authors Scrap Madinger and Mark Easter suggest that Wright may have overdubbed his contribution at a later date.[34] Two members of Harrison's 1974 bout band, Tom Scott and Chuck Findley, added horns at A&M Studios on 2–3 June,[44] with each musician overdubbing ii parts.

Leng describes Harrison's vocal equally "his best Smokey impersonation, almost going falsetto".[18] Harrison'south singing on Nighttime Equus caballus had been the focus of critical contemptuousness in America,[46] later on he contracted laryngitis on the eve of the 1974 tour.[47] With his voice restored by early 1975,[48] his vocals were close-miked during recording merely mixed low on songs such as "Ooh Infant".[49] Leng speculates of this effect that "the goal was to create a Harrison soul anthology for lovers",[50] while Clayson views it as "the courage of Extra Texture", similar to "the feathery emanations from Philadelphia by the likes of the Stylistics and Jerry Butler".[51]

Release and reception [edit]

Extra Texture (Read All Virtually It) was released in September 1975, merely 9 months later on Dark Equus caballus,[52] with "Ooh Baby (You Know That I Honey You)" appearing every bit track 4 on side ane in the LP format.[53] The dorsum of the Roy Kohara-designed album cover carried a dedication to Smokey Robinson.[54] For the first time as a solo artist, Harrison undertook promotion for his album,[four] [55] in the Uk, which included a vocal-by-song discussion with BBC Radio one DJ Paul Gambaccini.[56] When discussing "Ooh Baby", Harrison said that he was "not anywhere in [Robinson]'s league" as a singer, merely the song "ever reminds me of that Smokey type of mood".[57] [58]

Among music critics, Nicholas Schaffner wrote in 1977, "even his disciples tended to notice the music plodding and bumming".[59] In another unfavourable album review from Rolling Stone,[60] Dave Marsh opined that "Also often, Harrison's affectingly feeble phonation is buried in a muddy, post-Spector mix" on Actress Texture, and that "Ooh Babe" "fails simply considering he isn't much of a melodist".[61] Neil Spencer of the NME wrote of "Ooh Infant": "the vocals try unsuccessfully to capture some kind of intimacy of soft soul. All class, no content, and you lot tin't whistle it."[62] [63] Writing more recently, for Crude Guides, Chris Ingham pairs the song with "Can't Stop Thinking About You" as two examples of Harrison's "threadbare" compositions on Extra Texture and the "slick playing" institute throughout the album.[64] In a 2002 article on Harrison's solo career, for Goldmine magazine, Dave Thompson described the collection as "patchy" just listed "the contemplative (if somewhat Wings-ish) 'Ooh Babe'" equally one of the few tracks that should non be "overlook[ed]".[65]

Lone among Harrison'south biographers, Elliot Huntley praises the song, calling it "a sincere pastiche of the Smokey Robinson gossamer" with a falsetto vocal "coated in velvet".[iii] While similarly admiring Harrison's singing, Simon Leng writes of Gary Wright'due south "chiffon" keyboard part and Tom Scott's "balmy horns charts", but he dismisses "Ooh Babe" as commercially driven and designed to "not offend anyone".[66] Alan Clayson bemoans the "'Far East Man'-blazon lethargy" of this and other tracks on Extra Texture, an album he labels "[Harrison's] artistic nadir".[67] Ian Inglis views the song as inferior to the Miracles' "Ooo Baby Baby", lacking the latter'southward "natural lightness of touch on", and bemoans Harrison's "wholly inappropriate choice of tune".[19] "Instead of creating a mood of happiness with what is," Inglis continues, "or excitement at what may be, the track produces an atmosphere of gloom and despondency that is quite removed from the positive emotions contained in the words."[19]

Echoing Leng's admiration for "Pure Smokey",[68] Madinger and Easter write of "Ooh Baby": "Not one of his more inspired efforts lyrically ... [Harrison] was to practise a much ameliorate job of saluting Smokey on his side by side LP ..."[34] Writing for Blogcritics in 2014, Seattle-based critic[69] Chaz Lipp similarly opines: "Vocally he simply wasn't up to the Smokey Robinson pastiche 'Ooh Baby (Yous Know That I Love You)' ('Pure Smokey' on 1976's Xxx-Three & 1/3 is far meliorate)."[70]

In another review of the 2014 Apple tree Years Harrison reissues, for Mojo, Tom Doyle says of Actress Texture: "Hither George sounds depressed, if R&B-soulful, with Ooh Baby (You Know That I Love You) sharing its DNA with Bowie'due south Young Americans ..."[71] In his feature on Harrison in the same result of Mojo, Mat Snowfall admires the track as "a sincere synth-soul tribute" and "peradventure the best song" on the album.[72] Joe Marchese of The Second Disc describes information technology and "Can't Stop Thinking Most You" every bit two tracks that "happily reflected [Harrison'south] newfound bliss with Olivia".[73]

Personnel [edit]

  • George Harrison – vocals, electric guitar
  • Jesse Ed Davis – electric guitar
  • Gary Wright – electrical pianoforte
  • Klaus Voormann – bass
  • Jim Keltner – drums
  • Tom Scott – saxophones, horn arrangement
  • Chuck Findley – trumpet, trombone

Notes [edit]

  1. ^ Arias adds that her and Harrison's shared love of Robinson's songs "kind of sealed our human relationship".[33]
  2. ^ While Inglis cites the "familiar bandage" on Actress Texture equally exemplifying Harrison's ideal of ongoing musical collaboration,[36] Rodriguez notes the "tougher, funkier, and more often than not more than upbeat" sound created by a change of personnel for Thirty Three & 1/three.[39] The backing provided on that album primarily by Richard Tee, Willie Weeks and Stairsteps drummer Alvin Taylor, along with Harrison sharing his production duties for the first time since 1971,[40] all contributed to "Pure Smokey" being, in Leng's words, "the well-nigh successful, and succinct, summation of [Harrison's] attachment" to the soul-music genre.[41]

References [edit]

  1. ^ a b Clayson, p. 84.
  2. ^ Harrison, p. 320.
  3. ^ a b c Huntley, p. 125.
  4. ^ a b c Chase, p. 101.
  5. ^ Leng, pp. 88, 156.
  6. ^ Spizer, p. 263.
  7. ^ Rodriguez, pp. 59, 384.
  8. ^ Huntley, p. 112.
  9. ^ Greene, pp. 219–20.
  10. ^ The Editors of Rolling Stone, p. 46.
  11. ^ Tillery, pp. 115, 116.
  12. ^ Rodriguez, pp. 384–85.
  13. ^ Madinger & Easter, p. 451.
  14. ^ Clayson, p. 358.
  15. ^ Badman, p. 158.
  16. ^ "No Clear Blue Skies", Contra Band Music, two Nov 2012 (retrieved 29 April 2013).
  17. ^ "George Harrison – Interview (1975)", Paste (retrieved 12 November 2016); outcome occurs between 53:20 and 53:34.
  18. ^ a b c Leng, p. 182.
  19. ^ a b c d Inglis, p. 52.
  20. ^ Clayson, p. 349.
  21. ^ a b Vocal lyrics, booklet with Actress Texture (Read All About It) CD (Apple Records, 2014; produced by George Harrison), p. 13.
  22. ^ Inglis, pp. 52, 53.
  23. ^ Tillery, pp. 115–16.
  24. ^ Leng, pp. 184, 186.
  25. ^ Harrison, pp. 383–86.
  26. ^ Madinger & Easter, pp. 452, 455.
  27. ^ Schaffner, p. 192.
  28. ^ Rodriguez, p. 385.
  29. ^ Leng, pp. 178, 182, 186.
  30. ^ Leng, pp. 178–79.
  31. ^ Clayson, pp. 345, 348.
  32. ^ Badman, pp. 163, 164.
  33. ^ a b Kevin Howlett's liner notes, booklet with Extra Texture (Read All About It) CD (Apple Records, 2014; produced by George Harrison), p. 6.
  34. ^ a b c Madinger & Easter, p. 452.
  35. ^ Huntley, p. 122.
  36. ^ a b Inglis, p. 50.
  37. ^ a b 24-track chief reel data, booklet with Extra Texture (Read All Nigh It) CD (Apple Records, 2014; produced by George Harrison), p. 5.
  38. ^ Castleman & Podrazik, p. 376.
  39. ^ Rodriguez, p. 170.
  40. ^ Madinger & Easter, pp. 453–54.
  41. ^ Leng, p. 195.
  42. ^ Rodriguez, p. l.
  43. ^ Spizer, p. 274.
  44. ^ Madinger & Easter, pp. 447, 452.
  45. ^ Greene, pp. 213, 216.
  46. ^ The Editors of Rolling Stone, p. 44.
  47. ^ Huntley, p. 126.
  48. ^ Clayson, p. 348.
  49. ^ Leng, p. 180.
  50. ^ Clayson, pp. 348–49.
  51. ^ Schaffner, pp. 182, 212.
  52. ^ Castleman & Podrazik, p. 369.
  53. ^ Spizer, pp. 274, 275, 276.
  54. ^ Huntley, p. 123.
  55. ^ Badman, pp. 164–65.
  56. ^ Badman, pp. 164, 165.
  57. ^ George Harrison interview, Rockweek, "George Harrison explains 'Ooh Baby'" on YouTube (retrieved 30 April 2013).
  58. ^ Schaffner, p. 182.
  59. ^ Huntley, pp. 126, 128–29.
  60. ^ Dave Marsh, "George Harrison Extra Texture", Rolling Rock, xx Nov 1975 (retrieved 30 April 2013).
  61. ^ Neil Spencer, "George Harrison Extra Texture (Apple)", NME, 20 September 1975, p. 23.
  62. ^ Hunt, p. 103.
  63. ^ Ingham, p. 134.
  64. ^ Dave Thompson, "The Music of George Harrison: An album-by-album guide", Goldmine, 25 Jan 2002, p. 17.
  65. ^ Leng, pp. 182, 186.
  66. ^ Clayson, pp. 348, 350.
  67. ^ Leng, pp. 195–96.
  68. ^ "Chaz Lipp", The Morton Written report (retrieved vii Oct 2014).
  69. ^ Chaz Lipp, "Music Review: George Harrison's Apple tree Albums Remastered", Blogcritics, 5 October 2014 (retrieved 7 October 2014).
  70. ^ Tom Doyle, "Hari Styles: George Harrison The Apple Years 1968–1975", Mojo, November 2014, p. 109.
  71. ^ Mat Snow, "George Harrison: Tranquillity Storm", Mojo, November 2014, p. 73.
  72. ^ Joe Marchese, "Review: The George Harrison Remasters – 'The Apple tree Years 1968–1975'", The Second Disc, 23 September 2014 (retrieved 10 Oct 2014).

Sources [edit]

  • Keith Badman, The Beatles Diary Book ii: Subsequently the Pause-Upward 1970–2001, Bus Press (London, 2001; ISBN 0-7119-8307-0).
  • Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-viii).
  • Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN 1-86074-489-3).
  • The Editors of Rolling Stone, Harrison, Rolling Rock Press/Simon & Schuster (New York, NY, 2002; ISBN 0-7432-3581-9).
  • Joshua M. Greene, Hither Comes the Sun: The Spiritual and Musical Journeying of George Harrison, John Wiley & Sons (Hoboken, NJ, 2006; ISBN 978-0-470-12780-3).
  • George Harrison, I Me Mine, Relate Books (San Francisco, CA, 2002; ISBN 0-8118-3793-ix).
  • Chris Hunt (ed.), NME Originals: Beatles – The Solo Years 1970–1980, IPC Ignite! (London, 2005).
  • Elliot J. Huntley, Mystical One: George Harrison – Afterwards the Interruption-upward of the Beatles, Guernica Editions (Toronto, ON, 2006; ISBN ane-55071-197-0).
  • Chris Ingham, The Rough Guide to the Beatles, Rough Guides/Penguin (London, 2006; second edn; ISBN 978-i-84836-525-4).
  • Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-3).
  • Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ISBN 1-4234-0609-5).
  • Bit Madinger & Marking Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.ane Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4).
  • Robert Rodriguez, Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ISBN 978-1-4165-9093-4).
  • Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-v).
  • Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ISBN 0-9662649-5-9).
  • Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ISBN 978-0-8356-0900-v).

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Source: https://en.wikipedia.org/wiki/Ooh_Baby_(You_Know_That_I_Love_You)

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