Archive for the ‘Johnny Cash’ Category

Thomas Wayne

Saturday, September 17th, 2016

thomaswaynetragedyuka, Thomas Wayne, Twinkle, The Shangri-Las, American London,

Listen: Tragedy / Thomas Wayne
Tragedy / Thomas Wayne

Both sides are a childhood memory record. And I had all but forgotten this one until there it was in the collection I’d bought from Tony King. Certainly not representative of the general sound I ultimately went for until years later, unsure if it was the very first record I had someone buy me, but it was certainly one of the first.

Possibly ‘Tragedy’ is what planted that seed toward favoring violent death and horror records like those by Jimmy Cross, Twinkle, The Shangri-Las, Screaming Lord Sutch & The Savages even The Gun Club. Thomas himself died in a car crash.

thomaswaynesaturday, Scotty Moore, Elvis Presley, Thomas Wayne, Fernwood Records, London American,

Listen: Saturday Date / Thomas Wayne
Saturday Date / Thomas Wayne

Like Side A, the flip, ‘Saturday Date’ was produced by Scotty Moore, one time Elvis Presley guitarist. Why it wasn’t included in the AMERICAN GRAFFITI soundtrack is beyond me. Lyrically, you can’t capture the era better. Speaking of guitarists, Thomas Wayne was indeed the brother of Luther Perkins, who played lead for Johnny Cash.

A side scan from Tony King’s collection, B side scan is my original copy from the day.

Joe South

Friday, June 1st, 2012

Listen: Birds Of A Feather / Joe South
Birds

Turns out my tastes were always partial toward Joe South.

WNDR was playing ‘Birds Of A Feather’ upon release, and my then close friend/next door neighbor had bought a copy. The record became a regular after school spin for ages. We’d load up on candy and chips, sodas, then converge on his parent’s house from about 3 to 5pm daily. The place became a juvenile hangout for our clique, basically young aspiring record fanatics searching for their first high. Seriously, we’d mix Coca-Cola and aspirin with drips of alcohol from his parents liquor cabinet trying hard for a buzz, always to no avail. We couldn’t risk his folks noticing the slowly depleting bottles, hence the required rationing. Certain singles, like Joe South’s, made up our soundtrack.

Joe South, in hindsight, had also written Billy Joe Royal’s ‘Down In The Boondocks’, a very early memory from winter ’65. Great song, and personally an easy one to identify with. Being banished to small town upstate New York, pining to live in a big, big city full of deeply stocked record stores was my apparent fate. A little boy presumably sentenced to life in said boondocks.

I would argue that Joe South’s songs and especially his singles collectively inspired many an Americana music band, not only US but also British. The Flying Burrito Brothers and Sea Train from here or Brinsley Schwarz and Heads, Hands & Feet from there come to mind. It’s my instinct at least. Joe South seems to be the one guy forever overlooked when the media instead busies itself siting Johnny Cash, Hank Williams or The Band as the catalysts.

Roberta Flack

Monday, January 4th, 2010

RobertaFirstTimeUS, Roberta Flack, Atlantic, Donny Hathaway

RobertaFirstTimeUKA, Roberta Flack, Atlantic, Donny Hathaway

Listen: The First Time Ever I Saw Your Face / Roberta Flack RobertaFirst.mp3

One of the first signs of major label desperation started to reveal itself around ’04. I worked A&R at Columbia, and it was obvious many young, debut acts were being file shared, as opposed to purchased on CD. So the making of new recordings by classic artists became the MO. Bob Dylan and Barbra Streisand were having #1 albums, after struggling to get any real sales blips for years. So Don Ienner, our chairman, suggested we find classic acts who were still relevant – even though most people had forgotten they were….still relevant. Johnny Cash, Neil Diamond, Bette Midler, Burt Bacharach and umm, Wilson Phillips.

I wanted to sign Roberta Flack.

Coincidentally, I had seen her a few weeks prior at B.B. King’s, and she was jawdropping. Voice 100% intact, beautiful and get this – hysterical. Her between song banter was a riot, more like Millie Jackson than the Roberta Flack I expected. We all blushed more than once. First rule: if she plays anywhere near you – GO. You will be knocked out.

I’m convinced I have a great idea and mention this to Vicki Wickham, figuring she may have a contact for Roberta. Sure enough she instructed me to leave it with her. A few days later, I get buzzed “Roberta Flack is on line one”. Holy shit. I pick up meagerly and she says “Kevin, this is Roberta Flack”. I apologetically put her on hold quickly, literally screamed, then went back calmly to proceed with the conversation. What a lovely lady. We talked for ages about making an album, even getting the songs Stevie Wonder had written for her and Donny Hathaway out of storage. She offered to call him, thereby inviting his voice on the potential duets now that Donny was gone. Sounded amazing.

Well Donnie Ienner passed. His gut wasn’t feeling it I suppose.

The major label world is a funny one. When you’re hot, you’re hot. Or when the boss is feeling good about you, your ideas are exciting, if not – there’s no winning. Yet the next guy down the hall can have the same idea and it flies. Who can say where Roberta and I fit in to that time line.