Episode 85–Can’t Give It Away on Seventh Avenue

UPDATE: Somewhere in the production process, the beginning of the show was truncated. I’ve replaced the episode and all should be well now. Apologies to anyone who was confused by the show beginning with me, mid-sentence.

This week, we’ve got a super-sized episode of the show (nearly an hour!) as I sit down with Christopher McKittrick, author of Can’t Give it Away on Seventh Avenue: The Rolling Stones and New York City.

Chris and I had a fascinating chat about the band and their long-term relationship with New York. All of them, whether collectively or as individuals, spent a lot more time there than you probably suspect, and McKittrick takes us along on the journey, demonstrating how the city infused itself into their lyrics, perhaps subtly at first in albums such as Goat’s Head Soup, but certainly more overtly by the time they got to one of their best albums, Some Girls.

Christopher took the time to run down a bunch of rumors related to the Rolling Stones, some of them started (as it turns out) by the band themselves. It’s a fascinating journey for fans of both the Stones, the City, and Rock and Roll in general.

If you’re not already subscribing to the show, or if you’re a new listener (Welcome!), here’s the player/download link:

And, as usual, if you’re enjoying this show then please take the time to share it with someone else, and/or leave a rating on your favorite podcatcher.

If you’d like to purchase your own copy of the book, click here to get it from Amazon. This link will take you through the Amazon Smile portal, so if you’re a participant, the purchase will go toward your chosen charity.

Click here if you want to see more of Christopher’s writing (oh, I think you do).

NOTE: Because this show is largely unscripted, there is no transcript for the show at this time. My apologies to anyone who depends on those.

Episode 83–Kung Fu Fighting

Click here for a transcript of this week’s show.

So, once again, my apologies for the lateness of this episode, and a little bit for the sound. I’m still on the road and using a different set of tools to put this thing together. I’m kinda-sorta getting the hang of it, but at this rate I’ll be doing it all summer like this.

So here’s a fun little coincidence: I’m in Florida this week because my nephew got married this weekend. I thought I’d be a little bit cute and have this week’s episode be a wedding-themed song, like “White Wedding” or “Wedding Bell Blues”, but I settled on “Chapel of Love.”

On Wednesday, my wife and I spent the day walking in and out of the little shops in Tarpon Springs, a community so Greek that Zorba himself would say, “Hey, dial it back a little, willya?” And as it happened, one of the shops, near the end of Dodecanese Blvd, in the Lighthouse Shoppes building, is a used record store. I went in, not expecting to find much good, but instead I found…

…an original 1964 copy of the Chapel of Love album.

This is a sign, says I. And I decided to push that episode back a week so I could use that album for my source audio (no turntable on the road, alas), surface noise and all.

And that’s about it. I don’t have anything else good to tell you about Carl Douglas, because I used it all in the show. Except that he’s in his late 70s now and still performing.

Here’s Episode 83.

Next week: back in Baltimore!

Episode 80–YMCA

Yeah, I know it’s supposed to be spelled with periods, but that really screwed with the file names, so let’s all just live with it, OK?

Victor Willis was hired on to be the voice of the Village People, but like Ron Dante and The Archies, he was pretty much all there was to the band until they needed to put in some live appearances. So, like The Monkees, a casting call went out. Sure, the criteria for being in the Village People were a little different from being in The Monkees, but most of the group was cast based on their ability to dance (and, presumably, grow a moustache) rather than on their musical talent.

But as a result of this, and the fact that Willis was a writer or co-writer on most of the Village People’s biggest hits, the group has gone through some lengthy legal hassles in recent years. In 2012 he regained some control over the tracks, and in another lawsuit he stopped performance of that year’s incarnation of the band when he discovered that recordings involving him were being used to promote the show. Recently–just a few weeks ago–he announced that he was going to re-boot the group, which also includes finding new characters to play the various parts.

But enough nonsense. Listen to the show and enjoy the effect that all the pollen in Baltimore is having on my voice.

Incidentally, here is the American Bandstand clip. From everything I’ve heard about Dick Clark, I’d be willing to bet that he was the one who caught the kids’ actions and told the tech crew to capture them on camera so that he could not-so-subtly coach the group into adopting the arm letters. .

Episode 76–You Never Even Called Me By My Name

Click here for a transcript of this show.

David Allan Coe is one of those figures in the music firmament who people seem to either love or hate, at least as a performer. As a songwriter, he’s remarkably talented and for awhile his work was among the most in demand on the Nashville scene.

But it was a song he didn’t even write that put him on the map as a performer. Writing credit for “You Didn’t Even Know Me By My Name” goes to John Prine and Steve Goodman, both of whom recorded it before Coe got his hands on it, though nearly everyone agrees that Coe’s version is the definitive one.

By the way, I mentioned during the show that “Take This Job and Shove It” was another Country song that had a wry sense of humor and had a connection to this one. That connection is Coe, who wrote “Take This Job”.

This week’s episode is below. Enjoy it as you will. And please remember to share the show with someone if you’re enjoying it.

Episode 75–Scenes From an Italian Restaurant

Click here for a transcript of this show.

Come with me on the Billy Joel Tour of Long Island!

This week we’re looking at Billy Joel’s longest studio track, from his breakout album The Stranger. Joel was inspired by the last half of Side Two of the Abbey Road album, which also involved several shorter songs stitched together into a longer suite. And, as matters would have it, it’s the last half of Side One of The Stranger. Coincidence? Yeah, probably.

The song mentions several places on Long Island that are pretty easy to identify. But the big to-do about this song concerns the location of that restaurant. Billy Joel gave shout-outs to a lot of people and places on Long Island, so what restaurant was he talking about? That’s one of the mysteries we try to answer this week.

Episode 65–Dust In The Wind

Click here for a transcript of this show.

Kansas was literally on the last day of rehearsing for their fifth album when their producer asked them if they had anything else. Guitarist and songwriter Kerry Livgren reluctantly broke out an acoustic song that he was convinced the rest of the band would hate, because it was practically the opposite of everything Kansas had done until then. But it turned out to be exactly the opposite: they loved it, and they fine-tuned the song to give some of the other band members something to do (extra guitar, violin part, and a smidge of percussion), and it turned into the album’s second single and the biggest hit of their career.

Dustiness here, dustiness there…no wonder Caroline is in a pond. She’s gotta wash off all that dust.

And that’s about it, there’s not much mysterious about this song. It’s been either used or referenced in countless pop culture arenas, and it’s been successfully covered a few times, curiously enough by Country singers most of the time. Many people know about Sarah Brightman’s cover of the song, but I’m going to encourage you to check out last year’s recording by Caroline Jones. (No, I don’t know why she’s singing in a pond, unless she wanted to do the exact opposite of Kansas’ video.)

This may come as a complete surprise to you, but if you don’t have podcast software on your mobile device, you can listen to/download the show right here!

And remember: sharing + ratings means more fun for everyone.

Episode 64–One Bad Apple

Click here for a transcript of the show.

The Osmond Brothers got their real start in show business when they couldn’t get an audition for one television show, and they wound up on another.

Check out the audience reaction to them at first. It cracks me up every time.

This clip, incidentally, is from the show Walt Disney’s Wonderful World of Color, which most people seem to remember as The Wonderful World of Disney. Shoot, I was watching the show as a small kid (right after Mutual of Omaha’s Wild Kingdom), and remember it under the second title, which wasn’t a thing until 1969. This episode was called “Disneyland After Dark”, and the conceit behind it was that Walt Disney himself would start to introduce the different performers on the show, but he’d never see the acts himself because tourists kept interrupting him. The show, as it originally aired on NBC, was available on DVD for awhile, but appears not to be available now.

This would be later in the group’s career with Andy Williams, since Donny is part of the group now.

The Disney gig led them to another show (The Andy Williams Show), and another. And finally, when they wanted to break out of their Variety TV Group image, they convinced their dad to let them record as a rock and roll band. So off they went to Alabama, as you do, and they put together an album that clearly had a Motown/R&B influence on it.

It wasn’t their first album; in fact it was their SEVENTH. But it’s the one that broke big for them.

The addition of Donny Osmond to the act, and the use of him in exactly the way Motown was using Michael Jackson at the same time, allowed the Osmonds to release their first hit single, and their first Number One record.

What’s the secret to the song’s success? There’s a theory, and it involves fast food.


As usual, here’s the show for those of you who don’t dig podcatchers. And please share the show with someone you love.

Episode 63–Shel Silverstein, Part 2

Click here for a transcript of this week’s show.

Hi! Didja miss me?

Apologies for the big gap in shows; life was getting in the way, plus I got sick somewhere in between and, while my voice would have been pure comedy on your end, it wouldn’t have been nearly as much fun on mine. No excuse though; I should have posted SOMEthing in the interim. I’ll do better next time.

Image result for ray sawyer -site:pinterest.com
Ray Sawyer, 1937-2018

Six episodes ago we took a peek at the work of poet/playwright/singer/songwriter/Renaissance Man Shel Silverstein, and I guess the most notable thing related to that show that’s happened since then, is that Ray Sawyer, the singer/guitarist for Dr. Hook and the Medicine Show, died on New Year’s Eve at the age of 81 after a short illness. Sawyer was the main singer on “Sylvia’s Mother” and “Cover of Rolling Stone”, among others.

So this week we’re looking at some more of his work, including what’s perhaps his most-covered song (and, oddly, a song that despite all the covers doesn’t seem to do anything on the charts; I think it’s just a song that people like to sing), and a quick look at his theater work.

With any luck, you’ve already got this in your podcatcher, but if not, here it is for your listening/downloading pleasure:

And please be sure to share the show with like-minded folks!

Episode 61–Indian Reservation (The Lament of the Cherokee Indian)

Click here for a transcript of this show.


John D. Loudermilk Jr. (March 31, 1934 – September 21, 2016)

John D. Loudermilk (the D doesn’t stand for anything) was a singer-songwriter who wrote a few hits for a few different artists, and he also fancied himself as a  prankster. So when he was asked by a Las Vegas radio station about his inspiration for writing the song “Indian Reservation (The Lament of the Cherokee Indian)”, he told a wild tale about meeting a band of Cherokees in a snowstorm. And when Casey Kasem’s crew got wind of the story, they called him to confirm it, and he changed it to sound even more dire. They bought it, Casey aired it, and now that the show is in re-runs, the story gets a national re-airing every now and again. And it’s entirely nonsense. But that also means we don’t really know what led him to write this song, which contains several elements indicating that Loudermilk really knew next to nothing about the Cherokee Nation. 

Don Fardon’s 45 sleeve

Does that make the song offensive? That seems to be a mixed bag, based on my research. Some people are pretty specific about the fact that it gets so many things just plain wrong. Some people don’t like the whole cultural appropriation end of things, where white guys (Loudermilk as the writer, Fardon and the Raiders as the performers) are singing about Native Americans in the first person. 

No, I don’t know why both records have orange sleeves. 

Some people also make a point of saying “I’m xx% Cherokee and it doesn’t offend me at all.” So in this respect, your mileage may vary.I asked my wife, who is part Cherokee, about it and she doesn’t like the song, largely because of the factual inaccuracies. I think she was pleasantly surprised that I knew what they were, though. But I don’t think she’ll be making a point of tuning in to this episode. Then again, I’m pretty sure she only listens when I play it back in my car and she’s there for it. 

At any rate: my apologies for the late delivery, but here’s hoping you enjoy it. As usual, your podcatcher should have it now (or very soon, anyway), or you can listen/download it from here: 

Thanks so much for the reviews I’ve seen, and the good words on Facebook. Next week will be a whole bunch of quick bits on Christmas songs, and then—finally—we’ll finish up the year with Part Two of Shel Silverstein. 

60–Breaking Up Is Hard To Do

Click here for a transcript of the show.

Yeah, yeah, I know: you were expecting Shel Silverstein again. Forgive me; I got Writer’s Block on it and couldn’t figure out a good way to organize my notes. 

Anyway. 

By the time 1962 rolled around, Neil Sedaka had been in the Top Ten eight times, but he still hadn’t cracked the #1 slot.

Image result for 1962 neil sedaka -site:pinterest.com

Inspired by a doo-wop song he’d heard recently, he put together a song that had a similar structure but no doo-wops in it. He brought the song to Barry Mann, who didn’t like it until he added the “dom dooby doo dom dom” bit back in. That was deemed good enough for him to record, and it turned into the Big Hit of the summer of 1962, going to the top spot by the second week of August. 

Image result for neil sedaka and wife recent
The happy couple in 2017

There’s a story out there in Rich Podolsky’s book about Don Kirshner (who produced the record) that says that shortly after the record came out, Sedaka proposed to his girlfriend, Leba Strasberg. Being the hopeless romantic that he is, though, Sedaka proposed over the phone, and Leba didn’t believe him. Sedaka had to put the song’s co-writer, Howie Greenfield, on the phone to convince her that he was serious. They’ve been married since September 11 of that year. 

Image result for 1975 neil sedaka -site:pinterest.com


While there were a bunch of covers, it was the 1970 version by Lenny Welch that changed the tone of the song, and it probably inspired Sedaka to re-record it as a ballad in 1975, which he put on an album almost as an afterthought. It became the second single off that album, and Sedaka found himself in the Top Ten a second time with “Breaking Up Is Hard To Do”. Oddly enough, Sedaka’s self-cover was NOT the most successful cover of the song, but you’ll have to listen to the show to find out what was. 

Speaking of which, here’s your golden opportunity to listen to, or download the show, assuming your podcast software doesn’t already have it. 

And thanks so much to the folks who have left reviews! I love you guys!