Phil Spector’s Christmas album from 1963 had only one original composition on it, and it went pretty much ignored for over twenty years.
First off, my apologies for the delay in this post. It appears that GoDaddy likes to do scheduled maintenance on Sunday nights, so I’ve been getting blocked out of the site on my end lately. At your end everything looks fine, but I can’t create new posts or transcripts or anything, really.
This week comes to us by request of Innkeeper Freddie, about whom I’ve gushed a little too much already. There are links to his show in the Episode 98 post below. He asked me to do this the day I met him, and who am I to disappoint.
“Purple Rain” the song was one of the last written for the movie, and it only became the title of the movie once the director managed to impress upon Prince how important it was to the scene he envisioned. Once he got a handle on that, Prince then asked him if the movie could also be titled Purple Rain. Given that hardly anyone expected anything to come of the film, the production company didn’t have a problem with it.
The extraordinary thing about the Purple Rain soundtrack is that three of the songs—including the title track—were recordings made of the first time the band ever played them for an audience, at the First Avenue Club in Minneapolis. The other two songs needed a bunch of post-production reworking, but “Purple Rain” only needed to be cut for length and not much else.
It’s unfortunate that, because of the Me Too movement, the film hasn’t really aged well (women are treated pretty poorly), which is a bit of a shame because, considering that it was a first-time director working with an entire cast that had never been in a film before, it’s not that bad. Also, as it turns out, Prince was a bit of a natural in the sense that the concert scenes were shot in about one-fourth of the typical time, partially because he didn’t want to do a million takes of every song, so the director set up multiple cameras and each song was performed three times, tops. And, as the story goes, Prince hit his marks exactly each time, making the editing much easier later on.
For those of you who listen or download here, enjoy this bounty:
And as usual, you can click here for a transcript of this show.
Prince’s first trip to the Top Ten was a slightly edited version of a live recording of the first time he and the Revolution played it for an audience.
Holy Cats. I completely forgot that my website host wasn’t working when I did Episode 97, and I didn’t do a post for that one. It was down for maintenance, and I never came back to it. Shame on me.
So for those of you looking for an entry for “Like a Virgin,” sorry. There isn’t one. We’ll just have to let it stand on its own.
In the meantime, I was thinking about doing the Sam Cooke song, but every time I hit the Internet to do some research, I’d bump into the Louis Armstrong song, so I figured, Why not do both in a single show? And so here we are, with a show that talks about both songs and the stories behind them. Especially interesting to me is that both songs picked up a following in Europe that didn’t have a lot to do with their performance in the US.
Click here for a transcript of this week’s show. And, of course, if your podcatcher hasn’t already picked it up, click below to listen/download it.
ADDENDUM: I noted during the show that next week’s episode was a listener request, and that wasn’t a lie. I should note, however, that the listener is another podcaster who calls himself Innkeeper Freddie, and he runs an interview podcast called Guestbook. Freddie runs a bed-and-breakfast or two in the heart of Washington, DC, and he interviews some of the people who stay at his B&B. Consequently he gets in a fascinating array of people, all of whom have some neat perspectives on life in general, plus the discussion is capped off with the “Seven Questions,” which is a fixed set of questions that he asks of all his guests. It’s definitely worth a listen, and you can check him out here. I got to meet Freddie a few weeks ago at the PRX Podcast Garage in DC, and now I’m playing catch-up with his show. He’s a really enthusiastic guy whose show isn’t getting the love it deserves.
This is mostly here for the embed link, and for the link to the transcript, which you can find here.
This week we take a look at a couple of songs that have the same title but are different, and which had different lives on opposite sides of the Atlantic Ocean.
Madonna’s sixth single and her first Number One hit was the one that established her as a genuine superstar, able to re-invent herself with each album.
Aja, by Steely Dan, was one of the first albums I purchased with my own money. It wasn’t that I was so enamored by Steely Dan; I’d just heard a lot of good stuff about it so I took a chance.
And while fourteen-year-old me heard a ton of good stuff in it, doing a re-listen these many years later has only cemented this album in my Top Ten of all time. (Small wonder that so many others agree with me on that one.)
Aja was released to rather mixed reviews, but over a relatively small amount of time, many of the critics who didn’t like it at first were won over. It just took a second or third listen to appreciate that Walter Becker and Donald Fagen were doing something genuinely new, fusing multiple genres into a cohesive whole.
As I strongly suggested during the show, go back and listen to this album with headphones. You’ll be amazed at the intimacy of every element on it.
Steely Dan’s fifth single, and the second from the album Aja, was not, in fact, inspired by Wake Forest’s struggling football team.
Bruce Springsteen was a local favorite and a darling of the critics, but that sort of thing doesn’t cut any ice when you’re Columbia Records and your artist has already released two albums without scoring any hits.
But Springsteen had an epiphany about what his next album should sound like, from both a lyrical and a sonic sense, and it was the start of his reputation as a serious perfectionist when it came to his recordings. The result was the album Born to Run, and its title track, which were both released on the same day: August 25, 1975.
The album went to Number 3 and just a couple of weeks later, Springsteen made a kind of history by being the first rock star to land on the cover of both Time and Newsweek Magazines during the same week, on October 27. According to biographer Peter Ames Carlin, that wasn’t a coincidence: Jay Cocks of Time found out that Maureen Orth of Newsweek was doing a piece about Springsteen and convinced his editor to run a piece as well. Time’s piece was all about his music, though, while Newsweek concentrated on the publicity machine that put someone like Springsteen on the map.
I, being only 12 years old at the time, remember seeing the covers but didn’t read either magazine because we didn’t have a subscription. But a pretty big deal was made about it in the newspapers and on TV at the time, so I have a memory of that too.
And as promised, here’s the video of the Springsteen pastiche that appeared on Sesame Street:
Next week’s show was inspired by a suggestion from a listener. In the meantime, have fun with this week’s show: