Episode 43–Where Did Our Love Go

By nearly all accounts, the Supremes were starting to look like a failure. Between 1961 and 1963, they had recorded six singles, five of them for Motown, and none of them reached the Billboard Top 40 chart. There was a glimmer of light when the song “When the Lovelight Starts Shining Through His Eyes” reached #23, but the act still wasn’t getting a lot of traction.

It wasn’t until the songwriting/producing team of Holland/Dozier/Holland (who also wrote “Lovelight”) wrote a song and produced a musical track for the Marvelettes, which the Marvelettes hated and refused to record. Desperate to get an artist to record a vocal (lest they be forced to pay for the musicians out of their own pockets), they managed to strong-arm the “No-Hit Supremes” into recording the song, even though the finished music track wasn’t in Diana Ross’ key. But the key change, and the bad attitude that the girls brought to the recording studio, was enough to turn the song into their first Number One hit, and that was the start of a string of chart toppers.

Surely, by now you know the drill: your podcast catcher should already have the song either downloaded, or ready to download. But if not, or if you prefer the Do It Yourself method, you can listen to/download the show right here:

And let me ask you to go to iTunes and say something nice about the show. The more decent ratings I get, the more visible the show becomes. Thanks so much for your support!

A Brief Pause

Image result for beatles piggies

As I mentioned on the show last week, there won’t be a show this week because of a planned break. We have a big party at my place every year at this time. If you know where I live, come on down! The more the merrier!

Next week I have something pretty cool planned, and I hope I can get all the elements in place for it in a timely manner. If not, it’ll be two weeks hence.

In the meantime: if you haven’t done so already, go check out and click “Like” on the show’s Facebook page.

And you can go follow the show on Twitter. 

And, of course, please leave a review of some kind wherever you get your podcasts from, whether it’s Podcast Republic, iTunes, Stitcher, Podomatic or whatever. Every little bit helps me grow the show.

Hey! I re-did the webpage! What do you think? Please to leave comments here.

Thanks so much for your support and I’ll talk to you on the 21st.

Episode 42–Baker Street

Gerry Rafferty was pretty much a known element to music fans as the voice behind Stealers Wheel and the song “Stuck In The Middle With You,” but by the time that song came out, Rafferty had quit the band, which had to shoot the promotional film (they weren’t quite called “videos” yet) without him. The guy lip-synching the vocals is Rafferty’s partner Joe Egan. Shortly afterward, Egan talked Rafferty into coming back into the band, and they managed to put together their contractually-required third album.

Rafferty and Egan split up again, and the legal battles prevented both of them from recording for three years. But that didn’t prevent Rafferty from writing songs in the interim. And it’s pretty clear that “Baker Street” was a reflection of his mood through all the legal craziness that went on.

This is the cover of the 45 sleeve as sold in Italy.

But while the song was a huge hit internationally, there are two pockets of controversy surrounding it. One stems from that haunting saxophone solo, and the other comes from the fact that, at the time, no other song had spent as much time in the Number 2 position on the Billboard Hot 100 chart without ever reaching Number 1. (The “Most weeks at #2” record has been surpassed many times since then, but the six weeks that “Baker Street” spent there was the record in 1978.)

As usual, if you have Podcast Republic or some other podcatcher, you should already have the show, but if you prefer to listen or download from here, feel free:

Let me give an extra shout-out to Co.Ag Music, a YouTube channel that provided some of the moody music near the end of this week’s show. They’ve got some cool stuff going on over there, especially if you like music with a science fiction bent to it.

No show next week! I’ll see you on July 21 with something really special (no hints)!

Episode 41–Summertime Blues

Eddie Cochran’s premature death in an auto accident cemented him as forever young in his fans’ minds. And it didn’t hurt the story that he died protecting his girlfriend from harm.

Cochran was in a taxi with his girlfriend, Sharon Seeley, along with Gene Vincent and their tour manager, Patrick Thompkins on the night of April 17, 1960. It was the final night of a very successful tour, and they were in Chippenham, on their way from Bristol to London in order to catch a plane back to the United States. The road they were on was dark and winding, and the car was clearly going too fast. The driver had realized that he’d made a wrong turn, and when he hit the brakes the car spun out of control and smashed into a concrete lamp post.

Seeley reported that Cochran threw himself across her to protect her, and the impact threw him upward against the roof of the car and then out the door, which had sprung open. Gene Vincent had broken his collarbone and re-injured his left leg, which he’d broken badly in 1955. The accident left him with a limp he’d have for the rest of his life. Image result for eddie cochran memorial marker -site:pinterest.comSeeley and Thompkins walked away with minor injuries, but Cochran received a serious brain injury and died a few hours later in a hospital. To this day there’s a memorial marker on the spot.

Coincidentally, one of the people who saw Cochran during this tour was a young George Harrison, and both the guitar playing and the on-stage persona made a huge impression on him. He once recalled it in an interview:  “He was standing at the microphone and as he started to talk he put his two hands through his hair, pushing it back,” Harrison later recalled. “And a girl, one lone voice, screamed out, ‘Oh, Eddie!’ and he coolly murmured into the mike, ‘Hi honey.’ I thought, ‘Yes! That’s it—rock and roll!”

The story of Eddie’s signature hit is the subject of this week’s show. If your podcatcher doesn’t have it already, feel free to listen to or download the show from right here:

And, as always, leaving reviews wherever you get your podcasts is always a welcome thing.

 

Episode 40–Murray Head

Murray Head is one of those guys whose name you may or may not know, but you’re certainly familiar with some of his work.

In 1970 he worked on a concept album with Tim Rice and Andrew Lloyd Webber. The first single from that album was written and recorded before the entire rest of the album, and it was released by the record company to gauge interest in the idea of an entire album built around that idea. The song did poorly in the US, at least at first, but international sales were enough that MCA Records gave the go-ahead to the rest of the album. And that’s how the original double album Jesus Christ Superstar came to be.

Fast-forward several years and Tim Rice again taps Murray Head to help him with a concept album, one that uses the chess rivalry between the US and the Soviet Union (no, literally: which country had the best chess players was a big deal in the 1970s and 80s) as a thinly-veiled metaphor for the Cold War. And once again, the success of the album leads to the production of a stage musical, called Chess.

And these two successes put Murray Head in an interesting place in the record books.

Podomatic has been having some headaches with the RSS feeds lately because they’ve been switching to more secure feeds, but they swear that all is well and you should have this show in your podcatcher already. And if you don’t, then feel free to listen to it or download it from the player below:

And, of course, your feedback is always welcome. Reviews in iTunes or wherever you get your podcasts from do help boost the show’s profile overall.

This Is A Fix

It’s a glorious day here in Baltimore, so of course I’m inside maintaining this website. But don’t worry: I’ll be getting my fresh air later when I attend the Aberdeen Ironbirds game. Come find me in Section 115.

At any rate, I’m making a few changes to the older posts, eliminating the on-site players in favor of embedded players from the Podomatic website, so I can keep better track of my download/playback statistics. I don’t think this will create any hassles for you if you’re a regular reader of this site, but if it does, my apologies in advance (and please let me know if that’s the case).

I mentioned this on Facebook, but it bears updating and repeating here:

As of ten minutes ago, this show has:

  • 304 plays, either directly at Podomatic or streamed through a mobile device—only one of which appears to have been “skipped”;
  • 257 plays via embeds (since May 26, when I first started using the Podomatic embed);
  • 5507 downloads;
  • Uncounted plays from directly at this website (because that’s the way that goes, and why I’m making these changes)

I can’t possibly thank you so much for all of your support. If you’d like to translate that support into cash, I wouldn’t turn it down. Heh. (Seriously, though, I’ll be setting up a Patreon soon, as soon as I can figure out a decent Thank You kind of giveaway.) Also please take the time to give the show a rating and a review wherever you happen to listen to it.

Now go outside and get some fresh air on my behalf!

Episode 39–Under the Boardwalk

Before I start this week’s windup, let me point you to a different podcast for a moment. The guys at the TMDR Podcast describe their show as being simultaneously about nothing and about everything, but they keep the shows confined to a couple of topics. I’ve been listening in on their discussions of the HBO series Westworld, and just this week they did a show where they spent some time reviewing several different podcasts, How Good It Is being among the shows they reviewed.

I have to say, I was blown away by the level of praise they gave to the show, and I just wanted to thank them yet again, and offer up this link (click on their logo at right). Go check them out; I think you’ll have some fun.

Back in the mid-1980s I went to a Fourth of July event on Long Island. Among the pre-fireworks entertainment was music provided by The Drifters. What I didn’t realize at the time was that there were LOTS of ex-Drifters simply, er, drifting about, and many of them had gotten together and were touring as The Drifters. What’s more, all of these groups could legally do so in many places around the country.

As it happened, I was young and naive, and kinda-sorta listening to their lead singer and the way he was singing staccato style, because he was older and couldn’t hold his notes for any appreciable length of time.

So did I see The Drifters or did I see “The Drifters”? There’s an element of “both” in my eyes, because there were so many people paid to be one of The Drifters that this group could easily be made up of former members. But that didn’t mean I was watching Ben E. King or Clyde McPhatter.

“Under the Boardwalk” was recorded the day after their lead singer Rudy Lewis died. They recruited a former member from several years ago, and before long a new version of the group had cranked out their second-biggest hit.

As usual, your podcatcher software should already have this, but if it doesn’t, you can always play it back right here:

Or, if you’re so inclined, you can go directly to the Podomatic site and download it on your own. And please leave a review wherever you get your shows from, it really helps drive traffic. Thanks!

Episode 38–Killing Me Softly With His Song

In 1971, Don McLean was a known artist but hadn’t yet hit it big with “American Pie.” Lori Lieberman was a 19-year-old singer-songwriter who’d recently scored a contract. Lieberman attended one of McLean’s shows and she was so struck by his performance

of the song “Empty Chairs” that she wrote a poem about it, more or less on the spot. She took the notes to her collaborators and they put together a song for her album. It became her first single, but it was quickly overshadowed when Roberta Flack covered it.

While the song was covered numerous times, including versions by artists as diverse as Perry Como and Michael Jackson, it wasn’t until The Fugees put together a hip-hop cover that the song gained new life. Lauryn Hill’s singing gives the song an extra emotional ache, perhaps because their original idea was to turn the song into a cautionary tale about substance abuse, an idea that the original writers didn’t support.

As usual, your podcatcher should have the show by now, or you can play it right here. Or, if you prefer to download it yourself, click here and have at it.

And remember: you can also listen to the show via Stitcher, iHeartRadio, Google Play Music and TuneIn.com, which means you can also play it through your Amazon Alexa! (“Alexa, play How Good It Is on Tune In Dot Com.”) Go check out the links somewhere in the right-hand column.

Episode 37–Walk This Way

Before I do anything else, let me give a shout-out to a friend of the podcast, and one of its first fans who wasn’t related to me. Connie Paulson provided the artwork that you see in this post. You can see more of her stuff if you hook up with the show’s Facebook page.

 

In 1975 Aerosmith was pretty much just another rock band with a modest hit, but when they got writer’s block, a trip to a Mel Brooks movie inspired them to come up with a title, and then Steven Tyler wrote the lyrics over the next day or so–twice, as the story goes. The song was a hit, and ten years later, it was a hit again when Aerosmith teamed up with rap act Run-DMC to cover the song. Check out the video; it’s fun, it’s very creative, and you barely notice that most of the band is missing:

Your favorite podcatcher should have the show by now, but feel free to play it right here, if you’re so inclined. Or, if you prefer to download the episode on your own, follow this link.

And remember: you can also listen to the show via iHeartRadio, Google Play Music and TuneIn.com, which means you can also play it through your Amazon Alexa! (“Alexa, play How Good It Is on Tune In Dot Com.”)

Episode 36–Sultans of Swing

While I’ve made the joke in the past about a band taking ten years to become an overnight success, Dire Straits was successful almost from the jump. After a false start with EMI records, the band found a friend in a BBC disc jockey to whom they’d merely turned for advice. That DJ liked what he heard and started playing their stuff, which turned into a contract with a local label, and which they parlayed into a contract with Warner Brothers Records. And all of it in about the space of a year.

The song doesn’t appear on this album, but this is the guitar on which Knopfler composed “Sultans of Swing”.

Knopfler composed the song on the National Steel guitar you see in the picture here, but he wasn’t happy with it until he played it on a 1961 Stratocaster. He was so happy with the way it sounded that he stuck with the Strat for years afterward.

Given that Dire Straits was their first album, and it did so well worldwide, it was pretty clear early on that Knopfler is a ridiculously talented guitarist who has a way of making it look easy, and it seems to me that unless you’re a music aficionado, his talent is generally under-appreciated.

By now your favorite podcatcher should have this week’s show in your device, but if not, you can listen to it right here: If you’d prefer to download the episode directly, you can do so by going to this link (autoplays in a new window).