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Showing posts with label Rock and Roll Omnibus.. Show all posts
Showing posts with label Rock and Roll Omnibus.. Show all posts

Friday, January 18, 2013

Bent Fabric and His Piano--Alley Cat (1962)

     Our family has always loved music, and can never remember a time where I was not surrounded by it. Mom had a lovely alto voice and loved church music. By the 1960's, Dad's voice had been roughened by alcohol and cigarettes, but as he strummed on his guitar you could still hear the clear influence of Jimmie Rogers and Hank Williams Sr. I was never much influenced by country, but hearing both of them singing so much, it allowed me to feel free about expressing myself musically. My Dad's brother Ray was also an excellent guitarist as well, and when the families would get together inevitably the instruments wold be broken out, everyone would relax around the two men and singing would break out until the late hours of the night.
     For me however, the focus of those gatherings was my Aunt Mae. Mae was Ray's wife and a fantastic piano player. I was not a big kid, but even as a teenager, she seemed small and almost frail as she would get behind the upright piano in the basement of their house and play along for a set or two of songs. Watching her play was a joy as she alternatively went from power on pop songs of her day, to graceful and sensitive on slower, more expressive pieces. Her encouragement and support is the sole reason that I continue to perform and write music today. The happyness and joy that she showed when she played has been passed down to another generation every time I get behind the keys.
     For some reason, of all of the songs she used to play, the one I remember the most was a song called, "Alley Cat". In my limited experience as a kid, I figured it was was "an oldie", of course, any song that was conceived before being born at the time was thought of as "old". But something about this song always piqued my interest, and for a time could even play it myself. Come to find out as my interest in music grew, that the song was actually fairly new...
     "Alley Cat" was the creation of a Dutch pianist named, Bent Fabricius-Bjerre. After World War two, he formed a jazz combo which would record on their own label (Metronome Records) and play throughout Dennmark during the 1950's. In 1961 he recorded a song called, "Omkring et Flygel", which means, "Around a Piano". The next year, Atco Records picked it up and it soon became a worldwide hit. He still lives in Denmark at the age of 88. His last recording was in 2005.


Friday, August 26, 2011

Looking Glass--Brandy (Your a Fine Girl) 1972

     A college band was born out of Rutgers University in 1969. After graduation, the band fell apart, but two of it's members, Elliot Lurie (lead guitar, vocals) and Larry Gonsky recruited Pieter Sweval (bass) and Jeff Grob (drums) to form Looking Glass.

     The band's sound was one of straight ahead rock and roll, but as one can hear, the songs that reached the chart (Brandy, and Jimmy Loves Mary Ann from 1973) were more AM pop. This didn't sit well with Lurie who left the band in 74 and after a failed solo career settled in as a film composer....


Wednesday, August 24, 2011

Stevie Wonder--Fingertips Pt. 2 (1963)

     He really was a product of the 60's and 70's, but Stevie Wonder has continued to record and tour long after his major popularity has waned. 

     Born in Saginaw, Michigan in 1950, Stevland Judkins was born blind due to being 6 weeks premature. At the age of four his parents divorced, which prompted a move to Detroit and led to him being discovered by Ronnie White of the Mircales (actually it was his brother who kept nagging Ronnie to go to a friends house to check Stevie out). By this time he could play the harmonica, piano, drums, and bass. White took Stevie and his mother to Motown Records, and Berry Gordy signed him to a contract with Tamla Records under the name, "Little Stevie Wonder"

     Wonder cut several singles and a couple of albums in 62 without much success. In 1963, on a Motown Revue Concert with a very young Marvin Gaye on the drums, Stevie cut "Fingertips Pt. 2". It was his first hit and his first #1...



Thursday, August 4, 2011

The Songs of Jimmy Webb...

     The late 60's belonged to Jimmy Webb. 

      His first big break was when Johnny Rivers signed him to a publishing deal and recorded his song, "By the time I get to Phoenix" in 1966. The next year Rivers was producing an album for a new group called The Fifth Dimension and turned to Webb for some songs. One of them became a breakthrough hit for the group and was the first real success for Jimmy. Later that year, Glen Campbell covered "By the Time I Get to Phoenix" and was a hit for Campbell and has become a musical standard and began a long and fruitful musical relationship between the two.

     1968 was the year that propelled Webb into the rare status of a songwriting superstar. MacArthur Park and Wichita Lineman were great songs which earned him Grammy awards to add to the 8 that he won the year before. Lineman especially is an amazing piece of work with one of my favorite lines in a song ("I need you more than want you/and I want you for all time..."). It also established Glen Campbell as the best interpreter of his music. The hit Galveston in 1969 solidified that position.

     The following years never reached those dizzying heights although Webb has continued to win awards, write songs, and had also recorded a group of albums that have had great critical (if not chart) success over the last 45 years. Almost all songwriters in the rock era have reached star status for the interpretation of their own music. Webb has achieved superstar status solely on his writing ability....

Monday, August 1, 2011

The Grateful Dead--Truckin (1971)

     The legend of Jerry Garcia and the Grateful Dead has grown to the point where it almost overshadows their musicianship. All we hear about anymore are the endless tours, the drug abuse, and the deadheads. Unfortunately, this media whitewashing has obscured a dammed good band. Interestingly, they weren't really rock and roll, (at least not on vinyl), nor were they country, but there were elements of rock, country, folk, bluegrass, and reggae in a mix that was truly their own. As good as their musical output was however, it truly was the live show that became the stuff of lore There was an ebb and flow from one song to the next...from one concert to the next. Obviously, some of this was drug induced, however this overlooks the fact that the band had strong improvisational skills.    

      Today would have been Garcia's 69th birthday and one has to wonder what would have happened had he not be affected by drug addiction from the late 70's until his death in 1995. Not only beyond his work with the Dead, he was in numerous side bands, and worked on countless albums for other. This along side the constant touring.   As it was, he was one of the most influential artists of the rock era, as a singer, guitar player, and personality.

      "Truckin" is no doubt the song that defines their group philosophy and although it was only in 1971, the line, "what a long strange trip it's been" not only summed up their career up to the moment, but defined their future as well. It was their highest charting single, other then the one shot 80's single, "Touch of Grey". The music clip here was from a 1972 concert (we show it any other way) in Denmark.

Sunday, July 31, 2011

Sunday Morning Vault: The Turtles---It Ain't Me Babe (1965)

     The Turtles have long been under appreciated as sort of light weight. Of course, just listening to oldies radio would give you the impression that they only had one hit, maybe two (Happy Together and I Know She'd Rather Be With Me"). However, from 1965 to 1970, they had a string of top flight singles that showed strong songwriting ability and a wonderfully quirky sense of humor.

      The success of the group revolved around the talents of Howard Kaylan and Mark Volman, but the songwriting also included other members of the band and the arraigning skills of Chip Douglas. The song, It Ain't Me Babe, was written by Bob Dylan in 1964 and was first included on his album, "Another Side of Bob Dylan" and was covered that same year by Johnny Cash. The Turtles released it on their debut album in 1965 and it went to #15

     1967 was to be the big year for The Turtles and did well on the charts through 1969 where pressures on Kaylan and Volman from their record company (which was basically relying on them for all revenues) to change their image AND dump the rest of the band resulted in them just breaking up the group in 1970.

     Kaylan and Volman spent the early 70's working with Frank Zappa and the Mothers of Invention (which is where they got the stage name, 'Flo & Eddie') for a couple of years, then could be found working on many albums as diverse as T. Rex, Alice Cooper and Bruce Springsteen. They have worked on soundtrack albums and are now touring as "The Turtles featuring Flo and Eddie".

Friday, July 29, 2011

The Troggs--Wild Thing (1966)

     One of the things that make for a classic song is the opening riff. Rock classics are many times defined by something that simple. The chord structure of "Wild Thing" is about as easy as it gets, but has endeared itself to millions of garage band guitar heroes......

       The song itself was written by Chip Taylor, who's real name is James Wesley Voight, Jon Voight's brother. It was recorded first by The Wild Ones in 1965. Then The Troggs recorded made it a #1 hit in the US in 1966. They ended up with several hits here in the states up to 1968, and broke up a year later. They reformed in 1974 and has had varying success since, but will always be known for one of the greatest garage band hits ever....

Rush--Fly By NIght (1975)

    Today Geddy Lee turns 58....

     When any of us talk about the music that we gravitated to in younger days, it usually revolves around a time period and genre. It's a natural occurrence. For me it was Progressive Rock and British Folk of the early 70's....

       Most of the groups from that era never fully got out of the 70's. Oh yeah, there have been countless re-formations and reunions, but after about 1976-78 the bloom was mostly off the rose. But counter to what many music critics had predicted (and hoped), it has held itself together enough through the 80's to have a bit of a renaissance in the 90's with a new generation. 

     The one group that has not only defied those ups and downs, but arguably is more popular now than ever is Rush. Alex Lifeson, Geddy Lee, and Neil Peart have combined to make great music that is full of energy and life over 40 years after their formation. Progressive Rock is a bit of a pretentious style of music by definition, but there are two reasons why I believe they are still getting it done...

      The first is ego. The pretension of progressive rock would many times in those early years bleed over into the lives of those making the music. (Or some would suggest...the other way around). Many of the great groups of that era would either shift personal like crazy (Yes, King Crimson), or would annoy either other to the point of numbness (Emerson, Lake, and Palmer). Watching Rush perform is like watching three guys who have been through it all together and revel in the fact that now in the later stages of their lives and careers they are having more fun now than ever.

      The second reason is they never allowed themselves to be defined by a category. Their first few albums were more straight ahead rock and roll, which made them darlings of the FM music crowd. By the late 70's they were shifting more into progressive territory, but because of the inroads caused by the first few albums, they were never put into the same progressive box as the others. In addition, they have spread out and added other elements into the music. By the early 80's, they were experimenting with new wave and reggae sounds. This ability to incorporate other elements of music is one of the reasons it has remained so fresh over the years.  

      Geddy Lee's distinctive tenor and excellent bass work has defined him as one of the best in rock music. Having said that, I will fully admit that they are an acquired taste, but over the years they have passed by many of their critics (in some cases just plain outlived them), continue to make interesting music and seem to be fully enjoying what they do. The only thing left...in my opinion is their induction into the Rock and Roll Hall of Fame which at this point is a crime they have not made it already....

Wednesday, July 27, 2011

Bobby Gentry: Ode to Billy Joe (1967)

      Bobby Gentry was born Roberta Lee Streeter and most notable in music history as the one of the first female country artists to write and produce her own song, much of which was written based on her Mississippi roots. She was raised by her grandparents after her parent's divorce until the age of 13 when she went to live with her mother who had moved to California. After graduation she started at UCLA, then transferred to the Los Angeles Conservatory of Music to develop her songwriting skills. During her time in college she sang in clubs until signed to a contract with Capitol records in 1967.

     "Ode to Billy Joe" is a brilliant work of  Southern Gothic writing. The song itself won 8 Grammys, three for Gentry and one for producer Jimmie Haskell who's understated arraignment fit the song perfectly (the glissando by the strings near the end stick as much in the listener's as well as any lyrical hook). It was actually recorded as a "B" side, but DJ's soon flipped it over. Gentry's herself had no idea what happened to Billie Joe....

     "Those questions are of secondary importance in my mind. The story of Billie Joe has two
more interesting underlying themes. First, the illustration of a group of peoples' reactions to the life and death of Billie Joe, and its subsequent effect on their lives, is made. Second, the obvious gap between the girl and her mother is shown when both women experience a common loss (first Billie Joe, and later, Papa), and yet Mama and the girl are unable to recognize their mutual loss or share their grief."

    It's popularity and endurance led Warner Brothers to commission author Herman Raucher to write a novel and screenplay based on the song. Of course, this not only popularized the song again, but has led many to actually believe it was a true event. She had more success on the charts and on television worldwide (especially in Europe) up through the mid-70's.




                                    

Tuesday, July 26, 2011

Happy Birthday to Mick Jagger....

     Today Mick Jagger is 68 today....

      Just by sheer numbers, one has to admit that The Rolling Stones are the greatest band in rock history. This doesn't mean the best, although one cannot argue the long ranging influence they have had on millions of up and coming artists throughout the decades. The quality level of the group's music over the years is quite astounding.

      Over the 40 years I've been keeping up with the Stones, it always seemed to me that Mick had a center to him which allowed them to be able to move ahead rather then getting into a rut either musically or emotionally. Despite a couple of high profile drug busts (in 67 and 70), one never got the feeling that his life was out of control, like his writing partner Keith Richards did throughout the 70's. He freely admits of partaking of the lifestyle that his money and fame would allow, but the death of Amy Winehouse last week reminds us again, that for many artists a solid core goes a long way in surviving the lure of excess.

      Much is made of their R&B core, especially over the last 20 years or so, but when you strip away their love of the genre, they just know their way around a hook. Much like the Beatles, they used their pop/rock singles in the mid 60's as an opportunity to stretch themselves and point the way to a generation of musicians that were to be defined as much by the long player as they were the single (although the Stones and Beatles were pros at both).

       We wish a happy birthday to Mick, and continued success.....


Monday, July 25, 2011

The Ardells--Eefananny (1963)

      One of the strangest things I've come across in studying popular music has been "eefing". It's direct roots seems to be from Tennessee, where in an earlier generation it was called, "hooodling". There is an audio clip of Jimmie Riddle, who was considered a master of the form breaking the sounds down. Unfortunately I can't up load it, but if you go to You Tube you can hear it there.  He doesn't really explain it...but it's very funny to listen to. He was probably best known for doing his thing on the old CBS show, "Hee Haw"....
 There are examples of "Eefing" in Rock and Roll as well with the best charting example of it being Joe Perkins with 1963, "Little Eefing Annie". For us, we will suffice with The Ardells doing a song which was a spoof of the folk hootenanny movement of the early 60's....

Friday, July 22, 2011

John Ashley--Little Lou (1961)

     As you view this clip...notice the voice narration and the last credit before the clip goes off.
      That voice belongs to John Ashley, who also produced the show, which was by far his biggest claim to fame.

       That doesn't mean however that he wasn't a busy man. While on a vacation in California in 1956,  a friend from Oklahoma State University got him onto the set of the John Wayne  movie The Conquerer, and Wayne steered him toward a job in television in the William Castle series Men of Annapolis. A year later, Ashley was at the offices of American International Pictures to pick up his girlfriend, who was auditioning for a part in the company's Dragstrip Girl. AIP house writer Lou Rusoff saw Ashley waiting in the hall and decided the young man was the type AIP was looking for to play the male lead in the movie!! (He must have been really photogenic....)

     This began a career in the movies, but someone picked up on the fact that he had a voice as well, and for about 5 years put out singles, mostly in a rockabilly style. They went nowhere, but are of interest all the same. Ashley has had a very busy career with some TV and lots of  "B" movies. The most famous of those are the "Beach Party" movies of the early and middle 60's. (Beach Party, Muscle Beach Party, Beach Blanket Bingo, How to Stuff a Wild Bikini.). Sometimes in the mid/late 70's, he began a career as a producer and in 1983, landed the gig as producer of the A-Team. He's stayed very busy since then producing movies and television. But with a handful of singles, we remember Ashley as a singer......

Thursday, July 21, 2011

P.P. Arnold--The First Cut is the Deepest (1967)

      P.P. Arnold toured with Ike and Tina Turner as an Ikette for a few years in the mid-60's. During a gig in London, Mick Jagger was impressed enough with her singing that he suggested to their manager, Andrew Loog Oldham to sign her to his new record label Immediate Records. She quit her gig with the Turners and stayed in London to concentrate on her solo career. Arnold had her major success in Britain during the late 60's and has had what could be considered an on again/off again career, although has always kept busy either performing on the stage, doing solo work, or studio work for others.

      "The First Cut is the Deepest" was written by Cat Stevens (who celebrates his 63rd birthday today), although Arnold was the first to release it in May of 1967. Stevens had made a demo of the song before Arnold, but at the time just wanted to be a songwriter, so it wasn't until September of that year that his actual recording was done. The song has been covered many times, most notably by Rod Stewart in 1977 and Sheryl Crow in 2003....

Saturday, July 16, 2011

Sunday Morning Vault: Desi Arnez--I Love Lucy (1953)

   Desi Arnez and Lucille Ball are one of the most iconic couples in the history of television. There was a chemistry between them that was obvious on screen, and along with Vivian Vance and William Frawley created a show that has endeared itself to millions of fans now for 60 years. What many do not know is that Arenz and Ball both were shrewd business people who were pioneers in television production as well. 

      In the early 50's television shows were done live from New York, then sent to other station via kinescope images which was unstable, and in just the time it took to send the images to other networks, the picture quality began to deteriorate (which is why there are so few complete shows from that era). Arnez and Ball lived in California and did not want to have to travel to New York, so they convinced CBS to put the show on tape, which was more costly. Arnez also insisted on using three cameras instead of the one that was always used.  CBS, nor the show's potential sponsor, Philip Morris, wanted to pay the extra cost. The couple formed Desilu productions and offered to pay the balance of the cost, provided that after the first showing of the sitcom, Arnez/Ball would retrain total control on the film. In agreeing to do this, Desilu began syndicating the show and of course all of the money went to their new business.

       The two of them were hands on executives from the beginning of the company, which became sole ownership of Ball's after their divorce in 1960. The list of shows developed by the company reads like a who's who of popular TV in the 60's: Star Trek, Make Room For Daddy, The Andy Griffith Show, Mission Impossible, The Dick Van Dyke Show, The Lucy Show, Family Affair, My Three Sons, The Untouchables, I Spy, Mannix, Our Miss Brooks, Gomer Pyle USMC and That Girl were only a few of the shows under the Desilu banner....

       Arnez himself came from a family of wealth in Cuba. His father was the youngest mayor in the history of Santiago, and also served in the Cuban House of Representatives. His mother's father, Alberto de Acha was one of the three founders of Bacardi Rum. His childhood and early teenage years were ones of privilege. However after the Bastista led revolution in 1933 all of their property and money was confiscated as the elder Arnez was put in jail. The US government, who determined Arnez to be neutral, negotiated for his release and the entire family was moved to Miami. 

    Desi started out in show business to support himself and starred on Broadway in the musical "Too Many Girls". He was offered a part in the film version of the play and he went to Hollywood where he met Lucille Ball, and the couple married in 1940. His band recorded and toured and along with film roles, was doing very well. The idea of him being in a show with Ball was her idea for them to be able to spend more time together. His recording and touring began to slow and finally stop between the acting and the running of Desilu productions. 

      Arnez's version of the title song is delightful and brings back memories of not just Desi, but his Lucy who together made entertainment history....enjoy and happy Sunday!!

Friday, July 15, 2011

Linda Ronstadt--You're No Good (1974)

     Linda Ronstadt turns 65 today....

     She had a top 30 song in 1970 with 'Long, Long Time', and a country hit in 74' with, 'Silver Threads and Golden Needles'. However the woman with the gorgeous voice couldn't make a connection. on vinyl. She had a cult following due to her previous four albums partially because of her voice, partially because of her killer good looks (and as a young teenager...I did extensive research on this subject). No one doubted her talents, but finding a way to harness it was another thing altogether. She seemed a bit unfocused at first, but with each release became more assured of herself and her ability to choose material that was right for her.

     The key to unlocking everything turned out to be Peter Asher. She had chosen him to be the producer of her fourth album ('Don't Cry Now') on the advice of James Taylor's sister Kate. His biggest contribution was to let Ronstadt take charge of the studio, and to provide stellar arraignments to back her interpretative skills. There was improvement in not only her song selection, but in the arrangements of voice to band.  The next album, "Heart Like a Wheel", was very close to perfect for Linda, for the times, and (in my opinion) the best she has ever done. It began her huge success in America which gave her the financial and creative freedom to follow her muse wherever it took her....and for those who have followed her over the years, you know it has taken her to MANY places. Asher, by the way remained her producer up to the late 80's.

      "You're No Good" was written by Clint Ballard Jr. and was first a hit for Betty Everett in 1963 reaching #51. In 64', the Swinging Blue Jeans had a hit with it in the UK actually reaching the bottom of the charts here in the US as well. But it was Linda's take on the song, and Andrew Gold's prowess on virtually all of the instrumentation that took it to number 1 and the first of 11 to reach the top 20. ...Happy Birthday Linda.


   

Thursday, July 14, 2011

Bobby Vinton--Roses Are Red (My Love) (1962)

     Bobby Vinton feared the end of his singing career was done before it had even got started. After getting his college degree from Duquesne University in music composition, he did a two year stint in the military serving as a Chaplain's assistant. Upon his discharge, Vinton got a contract from Epic records as a band leader. However after a couple of albums and several flopped singles, the record company was ready to let him go. 

     "Roses Are Red (My Love)" was written by Al Byron and Paul Evans. It had been submitted to Epic records and rejected. Vinton found the song in the reject pile and liked what he heard. However the record company was not ready to support a rejected song or an artist they were ready to let go. Deciding to promote it himself, Bobby bought 1,000 copies of the single, and hired a young woman to hand deliver each single with a dozen roses. The gimmick gave the record the boost it needed and it soon reached No. 1 for four weeks in 1962 and began a successful career that had hits on the top 40 up until 1974. ....

Friday, July 8, 2011

Donny Osmond--Puppy Love (1972)

     Teen idols normally have a short shelf life. Almost since the beginnings of rock and roll, PR people have figured out that marketing an artist to young teens can boost record sales. However, young teens grow up, and along with it their tastes in music mature as well. The artists that CAN make it beyond those first few years, are the ones who find a way to mature with the audience.

      In the early 70's, there were four teen idols (male department) that vied for the covers of teen magazines. David Cassidy, Bobby Sherman, Michael Jackson, and Donny Osmond. Of those four, Sherman left the biz altogether when he sensed it was over. Cassidy had a rough go of it for years because he tried to fight the "teen idol" tag and it almost ate him alive. Jackson and Osmond both made the transition to adult star (although admittedly Jackson did more than transition....he transformed his genre).

      Osmond did it by finding his audience early and never leaving their side. His most popular songs in the early 70's were the ballads, and those same teens (and their parents) were the same who watched Donny and Marie, and have continued to keep up with Osmond through the years. Another thing that might have helped him (and Jackson) were the fact that they had siblings (older ones too) that provided a system of peers who understood and encouraged.

      Let's not forget that Donny had the goods as well. You might not like his music, but you cannot deny his multiple talents. If you ever doubted that, watching him win, "Dancing with the Stars" in his early 50's and smiling that Osmond 100 watt smile the whole way should have been a reminder. He has been star on vinyl, on television, and on the stage as well, and continues to cultivate much of the same audience that has followed him since the early 70's.

      1971 was his breakout year and by far his most popular in terms of record sales. Puppy Love was his next to last top 10 (the "Twelfth of Never" was the last one in 1972), but had two others in 72' that were hits as well. Paul Anka wrote the song for Annette Funicello who he was dating at the time.....

Thursday, June 30, 2011

Little River Band--Help is on it's Way (1977)


     The guys who made up the Little River Band had already achieved success with other bands in their native Australia. From the start the band became known for tight harmonies, and a sound that was as mature on the singles as the album cuts. I imagine that because one of their big hits ("Reminiscing" in 1978) was their sappiest, they have been given the tag of lightweight, which is far from the truth.   If you have not spent much time with the band, I suggest that you do so...you'll find a lot of treasures awaiting.  

Monday, June 27, 2011

O.C. Smith--Little Green Apples (1968)

     O.C. Smith had bounced around in jazz and pop circles for over 13 years when he had his only hit with the Bobby Russell song, "Little Green Apples".

     He was born in Louisiana in 1932, but due to his parents divorce spent much of his time in California. After earning a degree in Physiology, he entered the Air Force, where he began to show off his talent by entering talent contests. On his discharge from the military in 1955 O.C. started singing jazz to help pay the bills. This led eventually to a gig as lead vocalist with the Count Basie band from 1961-1965.

      During all of this time he recorded songs that really went nowhere until 1968 when "The Song of Hickory Hollow's Tramp" made the top 40 in the states and reached number 2 in the UK. This set things up for "Little Green Apples" which shot up to the second spot on the top 100. He was on the pop charts regularly until 1974 and on the R&B charts well into the 80's. O.C. passed away in November of 2001....

     Just a reminder that the "Rock and Roll Omnibus Live!" will be broadcast at 9pm-11pm Central time US tonight!. Just go to www.radiofreenashville.org and follow the instructions. Hope that you will give us a listen!