Bill Withers was an aspiring musician, but he kept his feet on the ground for a long time. Even after his first album started to climb the charts, he kept working his job assembling bathrooms in an airplane factory because he thought the music industry was fickle. He wasn’t wrong, incidentally. But in his case he may have been pessimistic. It wasn’t until “Ain’t No Sunshine” went Gold that he finally left the factory job and went on tour to support the album.
Given the star power that supported him with the recording of his debut album, Just As I Am, it’s a small wonder that he became such a huge star right away. When you’ve got Booker T. Jones producing and the rest of the MGs, plus Stephen Stills and Jim Keltner on drums, you’re going to be a huge hit. Or, maybe you’re not nearly as good as you think you are, and you may as well spend the rest of your life in that factory.
“Ain’t No Sunshine” wasn’t the first single off the album. And I don’t think I’m spoiling any surprises here when I tell you this: It isn’t too tough to figure out how it got all the airplay, and eventually all the sales, that it did.
Oh—and, as promised, here’s the video of the cover by the Black Label Society from a few years back. They’re a heavy metal band, but this cover is mostly acoustic. Zakk Wylde kind of digs the negative attention that the video got for the use of the horse masks (and more) that you’ll see in this video. But maybe just lean back and enjoy it instead of reading into it too deeply.
I’m aiming for the next show to drop on January 3, so until then: have a Happy and Safe New Year!
I actually had a different show in mind but I got to listening to some old radio airchecks (not my own) and I was inspired to do something different from the usual show.
The first thing you’ll notice is that it’s a half-hour long. That’s because I’m playing songs in their entirety and not really talking very much. (If any episode is going to net me a C&D letter, this’ll be the one.)
In this year’s Christmas episode, I’m playing eight songs that don’t get airplay anymore for some reason. A few of them are kinda goofy, a couple are kind of derivative, and I daresay a few of them are seminal to their genre. And while I share a little history with you here and there, the intent this time is to just sit back and wonder why the All Christmas All The Time station in your area is sticking with the same twenty songs, and not playing any of these guys.
All of these songs can be found without too much hassle on Amazon Music or YouTube. If you want to revisit them, here’s the playlist:
Merry Christmas, Mary—Tommy Dee and Carol Kay
Merry, Merry Christmas, Baby—Dodie Stevens
Santa’s Song—The Oak Ridge Boys
Yulesville—Edd “Kookie” Byrnes
Santa Claus Meets the Purple People Eater—Sheb Wooley
Please Come Home For Christmas—Charles Brown
White Christmas—The Ravens
Silent Night—The Ravens (flip side of White Christmas)
And just for the giggles, here’s one more song that didn’t make it into the show itself. It’s Bobby Helms’ other shot at a Christmas tune, from 1965. He wasn’t the original artist (I think he was the fourth) to release this song. I think the most popular version came from Herb Alpert and the Tijuana Brass in 1968, though Bobby Vinton’s version is kind of well-known, too. At any rate, here’s Bobby Helms:
Sorry, no transcript of this episode, since it’s mostly music.
NOTE: I got word that there was a problem with the uploaded file. It should be fine now. Apologies for those of you who had hassles.
Let me start by thanking the show’s newest Patron, Scott Fraser, for joining the family!
Next: my apologies: I counted on taking a week’s break but not two. I got remarkably sick a couple of times in the past week, culminating with a trip that involved having testing swabs stuck up my nose to varying depths, depending on what they were looking for that time. They were relieved to tell me that I “only” had food poisoning…they think. Reassuring? Anyway, if I sound a little rough in this episode, now you know why.
There are several elements of the story behind “Maggie May” which are going to sound very familiary to you, if only because I’ve told a variation on them at some point in the past with regard to other songs.
On the other hand, there are definitely a few elements to “Maggie May” which you’re not going to hear anywhere else, because not every song starts with getting deflowered at a jazz festival’s swan song.