Listen: I’ll Hold You / Frankie & Johnny
I'll Hold You / Frankie & Johnny
Thank you Memorial Day junk sales. Today Hickory, tomorrow UK Decca.
I told you I’d find one.
May 30th, 2011
Frankie & Johnny
May 29th, 2011
Alan Price
Listen: O Lucky Man / Alan Price
O Lucky Man / Alan Price
Tried watching this on Netflix a few nights back, no luck. Despite so many films getting streamed on the site, it doesn’t really apply to the music ones yet. Not enough of them that is. I have a feeling it will be decades before they get around to DATELINE DIAMONDS. But rejoice, they do have the Scott Walker film.
Back when current, O LUCKY MAN, the film, resided somewhere near HAROLD & MAUDE in the cult movie space. Nice thing was, the soundtrack sold slow and steady, week after week. I know, I was working at a one stop then. I was sure most of the folks buying the soundtrack had no idea they were actually getting a great album as well as their musical connection to the film, or that Alan Price had a history of flawless singles prior.
‘O Lucky Man’ was not only a UK A side but a US one as well. How it escaped any radio or sales success in either territory is one of the world’s great wonders to wonder about.
Listen: Poor People / Alan Price
Poor People / Alan Price
Just like The Troggs ‘Wild Thing’ from ’66, when the US single coupled their follow up, ‘With A Girl Like You’, as it’s flip side, so too was the US story of ‘O Lucky Man’, with American Warner Brothers deciding hastily to make their B Side ‘Poor People’.
Being so strong a song, as well as a film highlight, meant Warners UK chose ‘Poor People’ as their second single from the soundtrack. Again, not a blip of achievement anywhere. I barely remember either track even getting a review.
By no means a judgement on the quality of these two songs, or the entire soundtrack, which at present, has remained in print for 38 years.
May 28th, 2011
Brian Auger’s Oblivion Express
Listen: Straight Ahead / Brian Auger’s Oblivion Express
Straight Ahead / Brian Auger's Oblivion Express
Always the ultimate player, Brian Auger seems like he was a pro in the cradle. Go back to his earliest recordings, prior to the big success he had with ‘This Wheel’s On Fire’, billed as Julie Driscoll/Brian Auger & The Trinity. You’ll see his virtuosity was fully formed.
In the early 70′s, after Julie Driscoll went her solo route, he toured the world, initially as Brian Auger & The Trinity, quickly morphing into Brian Auger’s Oblivion Express, gaining US momentum the whole while. Sharing bills with every type of band (Bruce Springsteen, The Allman Brothers Band., Roland Kirk, Santana, Chick Corea, Led Zeppelin, Earth Wind & Fire, Kiss, Herbie Hancock), they provided just the right amount of high brow musicianship to ecstatically turn both jazz and rock audiences on.
Surprisingly, or unsurprisingly, their many records fell pretty short on US airplay, but sold well nonetheless.
Fast forward to the present, Brian Auger’s Oblivion Express is still playing, dare I say better than ever. I sat smack dab in front of him a few years back, when he shared a bill with an equally stunning Savoy Brown at B.B. King’s in New York, and you could hardly see anything but a blur from those hands.
They just don’t make ‘em like Brian Auger anymore. Sorry.
May 25th, 2011
Marie Knight
Listen: Cry Me A River / Marie Knight
Cry Me A River / Marie Knight
Hey thanks Vicki Wickham, for keeping this one since the 60′s. Yes, it was part of her 45 collection that I was gifted by Saint Vicki herself last fall.
You know, I love you Vicki Wickham.
Let’s talk about Vicki Wickham. We first met in ’89, when she managed Phranc during her Island days. I remember exactly where we first shook hands: backstage at the Beacon Theater, in the the very stairway where Ahmet Ertegan took his last spill. Phranc had just hired her, and was at that time on tour with The Pogues.
I was actually meeting thee Vicki Wickham. The one that booked READY! STEADY! GO!, managed Dusty Springfield, co-wrote ‘You Don’t Have To Say You Love Me’ with Simon Napier-Bell, produced Labelle. The one who not only booked the infamous Saville Theatre series, brought the Motown Review to England, worked at Track Records with The Who, Thunderclap Newman, The Jimi Hendrix Experience, Marsha Hunt, The Crazy World Of Arthur Brown, John’s Children, and yes, The Cherry Smash; but also knew Scott Walker…and Brian Jones. I was nervous and in awe. Vicki Wickham was a higher form of life.
Fast forward. Nowadays, we meet often for lunch, on 9th Ave and 44th Street at Marseilles, possibly her favorite restaurant. She always orders the asparagus omelette and eats about half. I grill her for details: RSG, The BBC during the 60′s, Rediffusion Television, Top Of The Pops not to mention every band and everybody she ever encountered. Did she visit the Immediate Records office, Deram, Philips, Fontana. What was the Ready Steady Go canteen like, did she know Tony Hall, Steve Marriott, Inez Foxx, Joe Meek, Dozy. When did she last speak with Andrew Loog Oldham, P.P. Arnold or Madeline Bell…..we cover, discuss, judge and trash tons of people. Yes, we are guilty. Needless to say, there’s never a loss for topics.
On one such occasion last year, she mentions having just found boxes of 45′s in storage, and the only one she can remember seeing in the whole bunch was the Bessie Banks ‘Go Now’ UK A label pressing. Was I interested in the lot? That’s like asking Alago, Duane, Joe and I if we’d like a free bump in the VIP bathroom at The Ritz in the 80′s. Ahh, yeah.
Vicki, you ARE a saint, and a beloved friend.
And you turned me on to Marie Knight. Praise be.
May 24th, 2011
The Ikettes
Listen: What’cha Gonna Do / The Ikettes
What'cha Gonna Do / The Ikettes
Tis the season to celebrate a birthday. SO MANY RECORDS SO LITTLE TIME is three years old, and as with the blog’s very first entry, each year I re-post one of the greatest records ever made, and the one that premiered this whole hobby: The Ikettes ‘ What’cha Gonna Do’.
Listen: Down, Down / The Ikettes
Down, Down / The Ikettes
Last year at this time, I was one week into the euphoria of having heard from Rose Ikette. This year, I’m hoping she checks back and emails me again.
Somehow Rose, your contact details didn’t transfer successfully to my laptop/ipad/devices. Please write.
May 19th, 2011
Ike & Tina Turner
Listen: Cussin’ Cryin’ & Carryin’ On (Single Mix) / Ike & Tina Turner
Cussin' Cryin' & Carryin' On (Single Mix) / Ike & Tina Turner
A seemingly precise representation of the delta, chitlin’ circuit RnB Ike Turner could master in a four hour session when he wanted to, providing Tina Turner was there, that is. Even though it was recorded in Los Angeles, ‘Cussin’ Cryin’ & Carryin’ On’ still felt rural.
The single was released twice, both times on Pompeii and about a year apart. Wish I had some, any info as to why. Trust me, I have dug deep, but uncovered none. Oddly, as with almost every other Ike & Tina Turner record from the period, this never did get a UK issue. How is that even possible, it’s so good.
‘Cussin’ Cryin’ & Carryin’ On’ and their general sound during the era, tortures at what I’m convinced was missed by not seeing The Ike & Tina Turner Review in full, sweaty action during ’64/’65/’66′. If only I’d been born a few years earlier, well at least ten to cover it safely. The live shows I could have attended, and records I could have acquired. Wow.
May 18th, 2011
Tarheel Slim & Little Ann
Listen: Security / Tarheel Slim & Little Ann
Security / Tarheel Slim & Little Ann
The musical history of Tarheel Slim is a long one. As a member of The Jubilators, he and his cohorts pulled a true fast one in 1950, when the six man group drove to New York from North Carolina with a mission in mind. On a single day, they recorded seventeen songs for four different labels, under four different names.
Initially, billing themselves as The Selah Jubilee Singers, they cut four gospel songs for Jubilee Records, before moving on to Regal Records’ studio in New Jersey as The Jubilators. Then over to Newark, recording four secular blues songs, including ‘Lemon Squeezer’, as The 4 Barons for Savoy Records. Finally, they drove back to Apollo Records in Manhattan, where, as The Southern Harmonaires, they recorded four more gospel tracks. However, Apollo owner Bess Berman realized the subterfuge. She signed them to a contract which allowed the other companies to release their recordings, providing they promoted them as a secular R&B rather than gospel.
Fast forward to ’56, by which time he and Anna Lee Sanford, now married and professionally recording as The Lovers, found themselves signed to Fire Record as Tarheel Slim & Little Ann. In addition to being a much better name, seems the label steered them in a way better direction too. Suddenly they were releasing some happening 45′s, all a seemingly perfect balance between gospel, soul and rockabilly. Despite a red hot guitar break, as one reviewer described it, for some reason, ‘Security’ has remained basically overlooked.
May 17th, 2011
Terry Dactyl & The Dinosaurs
Listen: Sea Side Shuffle / Terry Dactyl & The Dinosaurs
Sea Side Shuffle / Terry Dactyl & The Dinosaurs
John Lewis wrote and recorded ‘Sea Side Shuffle’ with Brett Marvin & The Thunderbolts, having recently joined as lead singer, and around that very time, changed his professional name to Jona Lewie. Their 1971 version, in the Mungo Jerry vein, who were having great initial success with a similar busking skiffle sound, flopped.
Partnering with Jonathan King for what was meant to be a one off re-release on UK Records, the boys used the pseudonym, Terry Dactyl & The Dinosaurs, and had a surprise UK, possible pain in the ass, #2 in July ’72. Now what?
Listen: She Left I Died / Terry Dactyl & The Dinosaurs
She Left I Died / Terry Dactyl & The Dinosaurs
A few follow ups. Not hard to figure that one out.
‘She Left I Died’ was the second such shot at another career surprise and also a sweet find, both acetate and UK demo pressing, at the UK Records mitzvah (see previous post) last Thursday.
Not having found real footing just yet, the record easily predicts pub rock and Jona Lewie’s ulitmate late 70′s anthem. A few listens in and ‘She Left I Died’ is hard not to love.
Jonathan King does it again.
May 16th, 2011
UK Records
Listen: Excerpts From ‘What’s So Great About UK Records’
Excerpts From 'What's So Great About UK Records'
Thursday May 12, 2011. Mike Goldsmith is driving toward his parking garage on W 57th Street, and spots the daily church sidewalk sale’s tables, just between 9th and 10th Ave, are filled with boxes of records. First rule: abort all other plans and check out records at just this type of miracle, which he does. What does he find? Hundreds of UK Records and UK Records related items, including master tapes, acetates and more. So my phone rings around 9:30am, with a quick order to get over there fast. Fifteen minutes later I’m double timing out of the Columbus Circle subway stop and hoofing it towards the sale.
Turns out this stash represented what was left behind by Jonathan King, who kept a NY apartment just one doorway down from the church’s location. His relatives cleaned out much of what they thought he might want, and the rest was going to charity. Luckily, I had a connection to the great man, and he emailed to confirm and explain. So there you go.
Even these left overs included an array of jaw droppers. The first of which I’ve posted above. Good thing I had no idea this teaser 7″ sampler existed prior, or I’d have been searching hard for years.
I must say, for a guy with such an ear for pop, I admit baffle when it comes to JK’s faith in Ricky Wilde’s vocal capabilities. Maybe he was angling toward sister Kim. That would make sense. Poor Tina Harvey, well she’s not far behind. Offset that with 10cc and Roy C, and all is forgiven, easily forgotten to be exact.
Another UK Records find in tomorrow’s post.
May 14th, 2011
Roscoe Shelton
Listen: Wedding Cake / Roscoe Shelton
Wedding Cake / Roscoe Shelton
Always moth to flame when it comes to food related songs, I can admit an implied dessert tray will always, hands down, be the most attractive. From that box in storage mentioned a few posts ago which my sometimes fried memory does not recall the origins of, that same brain has no problem recognizing the ripping power of a God given voice. Enter Roscoe Shelton.
As for ‘Wedding Cake’, marvel at the building swagger of the song’s greatness, but howl too at it’s double entendre lyric. Plain and simple, they’re brilliantly clever and a Blowfly style riot.
The guy was close friend to Bobby Hebb as well. Hard to top that.
Roscoe Shelton. One of too many unsung, under appreciated RnB gems.
May 13th, 2011
The Velvet Underground & Nico
Listen: All Tomorrow’s Parties / The Velvet Underground & Nico VelvetAllTomorrows.mp3
Not an easy 7″ to find, thanks Dick Storms for giving it to me years ago as a gift. Dick started The Record Archive, turning it into one of the best record shops of it’s day. From the humble beginnings of two standups (boxes) at a local flea market it grew to a sprawling vinyl hub, including deep catalog, collectables, knowledgeable staff, guest dj’s – even a back room complete with stage/sound/lights. Loads of local bands played, and national acts did those in-store signing things there too. Talk about taste – Dick had it down, not only in music but furniture, art, design and personality. A Rochester legend.
I wasn’t aware at the time that this single was actually a different take from the album version. I’d always assumed it was simply an edit. How could this not have been a hit one asks. Nico could sing any song and make it Nico. Andy Warhol was a decent A&R guy it turns out.
May 11th, 2011
The Graham Bond Organization
Listen: Long Tall Shorty / The Graham Bond Organization
Long Tall Shorty / The Graham Bond Organization
Okay, I have a thing for The Graham Bond Organization. From three thousand miles away, they seemed the underdog’s underdog. Attached to the Flamingo/Marquee/Soho nightlife sleaze fueled by American blues and black music makes only for a romantic validation. Rubbing shoulders and sharing stages with Georgie Fame & The Blue Flames, Chris Farlowe & The Thunderbirds, John Mayall’s Bluesbreakers, Peter B’s Looners and Zoot Money’s Big Roll Band has me, many times, starring into space wishing I could turn back time.
Nice thing about this bunch, they always looks dirty, miserable and most capable of genuinely playing earthy RnB.
I had wanted a demo copy, well actually any copy, of ‘Long Tall Shorty’ for decades. Four going on five to be exact. Just last week, my luck changed. I scored the first one to pop up on eBay for ages. Man, does it sound spectacular, almost worth the wait and certainly worth every penny.
Listen: Long Legged Baby / The Graham Bond Organization
Long Legged Baby / The Graham Bond Organization
Having lived life without this record until now meant deprivation of it’s B side. I have many, basically all the remaining 7′s by the band, and this, given the authenticity of ‘Long Legged Baby’, now equals their US only Ascot single ‘St. James Infirmary’, posted elsewhere on SMRSLT, as tied for being their best.
The grime of late, late night smokey smelly 60′s London, devoid of 24 hour food options, convenient public transport and particularly omissions control standards, is wonderfully captured here, at least how I fantasize it to have been.
May 8th, 2011
Bob Brady & The Con Chords
Listen: More, More, More Of Your Love / Bob Brady & The Con Chords
More, More, More Of Your Love / Bob Brady & The Con Chords
Not only did Bob Brady sound like Smokey Robinson, but for this 1967 single, he and the band, or maybe their label Chariot, decided to cover one of his songs. Like many Motown knock offs and/or non hits, it’s picked up a Northern Soul following. Great single, and not too expensive having just done a quick eBay search.
No idea when or where this one entered my life, but it wasn’t at the time. Randomly pulling a box of around 300 singles out of storage earlier today, yet another treasure trove got unearthed. Seriously, why I have absolutely no recollection of this box or it’s history is fascinating.
Bob Brady & The Con Chords were a white act from Baltimore, and the intro and verses of ‘More, More, More Of Your Love’ sound so much like The Amen Corner’s ‘Bend Me, Shape Me’, I’m wondering who was zooming who. I’ve played this so many times this morning, my entire family literally fled to safer ground.
More on the band and their history courtesy Funky 16 Corners.
May 7th, 2011
The Hollies
Listen: I’m Alive / The Hollies
I'm Alive / The Hollies
Talk about an explosive and immediate intro, here’s one of the most. This tore through my hand sized orange AM transistor radio, an item that almost needed surgically removing from my hand after a couple of years. We went everywhere together, to school, on lunch breaks, to the barber, dentist, shopping for records, the shower and even to bed.
I would wait religiously for the latest single from the UK’s Hit Parade to get an initial airing. Decades before info was a click away, we seemed to know pretty fast about new singles from the English groups, and would wait for that first listen. Many times wait and wait and wait to hear them, unsuccessfully.
I recall writing a letter to Jim O’Brien, the 7-midnight disc jockey on Syracuse’s WNDR, asking would he please play more of the new English bands and he actually read it. This was spring ’66, when playlists were fairly loose but didn’t exist at all to a kid listener. Back then, the stations took and played requests and as well, read letters on-air. I mentioned a few bands, The Alan Price Set being the only one I can recall at this moment. And he read my letter, rattled off all my requests and said “We’d love to play these but they just don’t get released in the USA”.
Not true.
I knew about these records via BILLBOARD. Not only were they printed in the HITS OF THE WORLD section of the publication, whereby they reproduced international Top 10′s and in the case of the UK, their Top 50 chart; but the magazine also listed weekly new US releases in their SINGLES REVIEW section, with label and catalog number. They were all released here, it’s why I wrote the letter.
And so, in hindsight, my mistrust of American radio officially began.
I will say this, Jim O’Brien clearly got some free plays during his shows. For a short period, he did a feature called ECHOES OF ENGLAND, during the British Invasion years. I heard some great stuff on that program: Them, The Silkie, The Yardbirds, The Honeycombs, even The Pretty Things ‘Don’t Bring Me Down’. And for a few weeks in September ’67, he opened most of his shows with The Pink Floyd ‘See Emily Play’. But he did tell a disappointing fib that night.
Regardless, to his credit, it was the grand man himself who played ‘I’m Alive’ one evening. Holy whoever, did it sound fantastic. Dwarfed the songs on either side of it. I loved ‘I’m Alive’ immediately, and excitedly thought I’d be hearing it often, but never did, not ever again.
It had an equally short lived life nationally, a one week spike at #103 on BILLBOARD’s BUBBLING UNDER THE HOT 100 chart, and that my friends, was that.
May 5th, 2011
Tiny
Listen: Aw! Shucks Baby / Tiny
Aw! Shucks Baby / Tiny
Not unlike Big Maybelle, Tiny could belt it out. With only a few minor hits to claim, she came and went in relative obscurity. Despite being signed to King/Federal, and touring with, amongst others, Joe Turner, Bo Diddley, Little Willie John, Etta James and Ray Charles, it seems her star never properly shined. From the sound of this single, she was a powerhouse. Originally released in ’57 (she was signed from ’57 – ’60), King decided on reissuing this, her most successful record in ’63 which is pressing above.
I was in Washington DC in the early 90′s, returning to New York on a Sunday. Duane and I were there to see a band for Medicine, my label. Next morning, I scoured the yellow pages for a vinyl shop. One small listing was close by and sounded interesting, claiming doo-wop, gospel and blues amongst it’s specialties, so we gave it a go.
It was in a pretty run down section of town and to be honest, we were the only two white folks in sight. The elderly man who ran the place, as he had for 30+ years, was behind the counter making small talk with a few women his age, all in their Sunday best, fresh from church. The shop was filled with cds and only a small section of 7″ vinyl in a back corner, not at all like he described his stock when I’d called earlier. Even more frustrating, the very vast majority of them were recent reissues. Really dreadful.
But I did notice a few Chess, Checker and King originals amongst them, all of which I selected and eventually made my way up to the counter with them in hand. Duane too had picked out a bunch. When I asked the price, he looked through them and said “They’re usually $4 but I think we should have a half price sale today, seeing as you boys have chosen some really nice stuff here”.
We immediately launched into all kinds of questions – from both sides. “How did we know about these records?” from him, and “Did you ever get to see Inez & Charlie Foxx or Slim Harpo?” from us. That kind of banter. We were having a great old time. Then he says “It’s about time to close but if you’d like, I’ll let you into the basement. I have a lot more records down there and you might find a few good ones”. We were taking the shuttle home, they flew hourly and therefore in no hurry. Seemed a little odd to close your shop midday (it was at that point around 2pm) and invite the only two customers, behind the counter then down to the basement. We took the chance.
Oh my God, the place was heaving with boxlots of 45′s. Loads and loads, mostly Chess and King. He came down and started spinning Sonny Boy Williamson and Hank Marr records, so many others too. We were there for hours, high as kites on the buzz. I still ask Duane, what were we thinking? We should have bought them all. I came home with at least 200, all in company sleeves. Tiny’s ‘Aw! Shucks Baby’ was just one of the endless jems.
After all that, this truly kind, gentle and generous man drove us to the airport in his big old, polished, oversized 70′s car, going way below the speed limit, in true fashion. It was like a little kid’s first ride in a stretch, and the stories about the past, like seeing shows at The Howard Theatre, kept flowing. Duane recalls his name being Christian, but in the high of the moment, we didn’t exchange contact info, a real regret. Still, a priceless memory for life.
Above: A shot of the King Records shipping room. I wonder if any of Tiny’s were being picked and packed?
May 4th, 2011
Derak Martin
Listen: Daddy Rollin’ Stone/ Derak Martin
Daddy Rollin' Stone/ Derak Martin
Right down to the misspelling of his name on the label, this reeked of street, almost bootleg. The noisy, dirty recording being the kind that would aggressively make the rounds on the underground club circuit, deep south US or deep north UK. ‘Daddy Rollin’ Stone’ and Derek Martin’s reach were validated by the bands that covered the track: The Who, John’s Children, The New York Dolls, Roger Chapman’s Streetwalkers. And that’s just the recorded versions.
May 3rd, 2011
AL GREEN
Listen: I Tried To Tell Myself / Al Green
I Tried To Tell Myself / Al Green
Al Green’s star had temporarily faded by 1977, and the Hi label’s relationship was grinding to a halt with it’s parent company London. By the end of the year, Hi would move to a new partner, Cream – not exactly a step up. The last few singles he released earlier that winter, during the tail end of those London days, crept into the market quietly and made little impact, despite the impeccable Willie Mitchell production, a long time winning partnership.
al Green’s five plus year hit streak was ending, and the sound of RnB moving on. ‘I Tried To Tell Myself’ deserved much more. A fairly collectible single now, no doubt due to so few pressed, it might be my all-time favorite from him. I was busy filling in my Al Green gaps when I stumbled on this one ages ago, having not even noticed it at the time. It’s a first listen.
Many a friend has left the house after an evening spinning records with it perched atop of their must-find list.
May 2nd, 2011
The Spin Doctors
Listen: Little Miss Can’t Be Wrong / Spin Doctors
Little Miss Can't Be Wrong / Spin Doctors
I recall when The Spin Docotrs were drawing record crowds at Wetlands, located in what eventually became a very trendy part of New York: Tribeca.
The club had an out of character for New York City aura. Between the decor and general booking policy, it could have just as easily been in Nashville, but we all loved the place. Walter Durcaz was resident dj, and he would play the most unexpected, and therefore, wonderfully satisfying records. I’d go early, just to sip beer and listen to his choices. Things like The Keef Hartley Band’s ‘Roundabout’ into Cal Tjader ‘Soul Sauce’ then seamlessly segueing Dr. John’s ‘Jump Sturdy’ straight into Juicy Lucy ‘Who Do You Love’. Flawless journeys every time.
Due to their early origins with jam bands, The Spin Doctors were never hip, in a downtown way. I recall when Frankie LaRocca signed them to Epic. Despite all the other folks in the A&R community quietly trying to do the same, once it was decided Epic would be their home, those same folks suddenly wanted the band to fail, basically turning their hipster noses in the air towards The Spin Doctors. This, by the way, was a rather common reaction to every bidding war conclusion, another thing of the now powerless major label world was guilty of in their day.
But if you ever saw The Spin Doctors, in their original classic ’89 lineup, there’s no way you could not have become a fan. Blistering players, a non-stop happy energy and many, many great songs. Most never seeing the light of day, when it came to official releases that is.
‘Little Miss Can’t Be Wrong’ had a hint of The Georgia Satellites during those solos, but it was the Jimi Hendrix style riffs and tones throughout the body of the song that has placed this top of the list amongst The Spin Doctors’ 7′ singles section in the SO MANY RECORDS SO LITTLE TIME Hall Of Fame.
May 1st, 2011
Tom Jones
Listen: It’s Not Unusual / Tom Jones
Listen: It's Not Unusual / Tom Jones
Everyone knows Tom Jones. Most don’t know that he began his professional life as the powerful front guy in Tommy Scott & The Senators, from home turf Wales. And during that period, the first person who tried bringing him to the public’s attention was Joe Meek. A few of those early recordings they made together, and I believe there were four, surfaced on Tower Records in the US not long after his initial success on Decca UK and their American outlet, Parrot. Someday soon I’ll post one.
Meanwhile, his first release for Decca, ‘Hide And Seek’, got no traction or attention. Second single ‘It’s Not Unusual’ skyrocketed despite the BBC’s lack of belief and airplay for the record. Massive at the time, and well played on the US oldies stations for decades, it wasn’t until a week back, while waiting for Kim to show up for dinner in the bar of The Lodge, did it suddenly come onto their house system. I figured it was an ipod playlist, but upon inquiring, learned it to be a stream from the Frank Sinatra station on Pandora radio. Wow – this whole Pandora thing is clearly becoming a major factor in the rapid listenership decline of foul US commercial radio, satellite’s Sirius/XM excluded. I’m no doubt one of the last to discover this good Pandora news. But with the onset of the Ford’s Focus’ groundbreaking internet ready technology, the hour glass on snail paced commercial FM programming instincts and decision makers has officially been turned over.
After ‘It’s Not Unusual,’ Decca/Parrot released a handful of singles that dwindled chart wise, all in Tom Jones’ forceful, RnB powerhouse vocal style. When Top 5 results evaded his followup 45′s like ‘With These Hands’, ‘Stop Breaking My Heart’ and ‘Sixteen Tons’, the label heads guided him toward daytime radio ballads. Given his undeniable voice, many of these are essentials in my collection too. ‘Detroit City’ and ‘I’m Coming Home’ of particular note.
What I did realize though, ‘It’s Not Unusual’ seems to have passed beyond that cut off date in the oldies radio world, and now, if played, would be a bit of an oasis, as is, say ‘Lola’, these days. That is, of course, if one is forced to endure your short playlist, local oldies station, religiously puking up the same researched standards. At least that’s the case with the very, very tired WCBS-FM here in New York City. Okay, some greats do get spun, but they’re basically overplayed beyond enjoyment (‘California Girls’, ‘You Can’t Hurry Love’, ‘I Got You’, ‘Respect’) and so a nice reminder last week of Tom Jones’ greatness via the Pandora death knell to stations like the aforementioned.
April 30th, 2011
Napoleon XIV/ Lieutenant Pigeon
Listen: They’re Coming To Take Me Away, Ha-Haa! / Napoleon XIV
Listen: They're Coming To Take Me Away, Ha-Haa! / Napoleon XIV
Are novelty songs credible? If a record makes you smile or laugh, then it must not be credible, right? Not sure I agree.
When ‘They’re Coming To Take Me Away, Ha-Haa!’ started getting airplay in Spring ’66, it was suddenly everywhere. Seriously everywhere. Sometimes being played once an hour on the same station. The intensity was real, but short lived. It lasted a total of six weeks on the Billboard charts, peaking at #3. When re-released in ’73, the record re-entered the Top 100 for a few weeks, hovering around the low 80′s.
Listen: Mouldy Old Dough / Lieutenant Pigeon
Listen: Mouldy Old Dough / Lieutenant Pigeon
Lieutenant Pigeon’s 1972 UK #1 was not an American hit. US radio had long since lost it’s sense of humor by then. They wouldn’t even play it. God forbid, they might lose their jobs. What a surprise, most of those radio gatekeepers did anyways.
Lieutenant Pigeon was in actuality, a band fronted by Rob Woodward, with his mother Hilda on piano. They went on to release three albums, and a best off. Pretty impressive. Napoleon XIV only managed one.
In today’s world, Napoleon XIV’s legal army might come chasing down Lieutenant Pigeon’s after comparing both record’s intros.
