Episode 82–Under the Covers 4

Click here for a transcript of this episode.

It’s been a long time since I did a show like this one, and the timing probably couldn’t have been worse.

As I note during the show, I’m on the road for the next several days, so I’ve got a condensed version of my usual recording setup. I can get the job done, but the recording and the editing process are very, very different from what I usually do. Typically after I write the episode I edit all my sound elements and then load them all into a piece of software that keeps them organized until I need them. Then I crack the mic open and play the elements as they’re needed. If I make a huge mistake, I have to find a point where editing won’t show. Because there’s usually background sound going on, I sometimes have to backtrack a lot. But generally it takes me 30-40 minutes to record a 15 minute show. Do a little editing and boom, it’s ready for processing and uploading.

This time around, it’s a gigantic jigsaw puzzle of my recorded voice, plus all the other elements patched in. Plus I have to control audio levels through software rather than through my mixing board, so it’s a whole other kind of thing. And maybe it’s me but recording this way kind of saps some of my vocal energy out of the project.

So after nearly a year, we return to the Well of Cover Songs, wherein we look at songs that you may not realize are covers of another artist’s work. And in my opinion, in each of these cases, the cover is the superior version. That’s not something you can always say (and I cite a specific example during the show).

At any rate, after a few hours of overtime, here’s Episode 82.

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.

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!

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 23–Lady Marmalade

Clockwise from top: Sarah Dash, Patti LaBelle, Nona Hendryx, Cindy Birdsong

In the 1960s there was a doo-wop girl group called the Blue Belles (sometimes known as The Bluebelles, or Patti and the Bluebelles). After Cindy Birdsong left the group in 1967 to become a Supreme, the group reinvented themselves and became Labelle. In the early 1970s they were a funk-rock group, recording covers of The Rolling Stones, Carole King and all kinds of other stuff that no other similarly-composed group would even consider. But another couple of years went by and they reinvented themselves again, embracing the the Glam Rock look and sound, and it was during that era that they scored their biggest hit, a proto-disco-funk track called “Lady Marmalade”, which went to Number One on the Billboard Chart in March of 1975.

Over the years since then, Labelle’s influence can still be heard in the sounds of groups like En Vogue, the Pussycat Dolls, and Destiny’s Child. Their fearlessness has inspired at least a couple of generations of pop musicians, and even their non-hit tracks are regularly covered. “Lady Marmalade” was inducted into the Grammy Hall of Fame in 2003, and I’ll bet you didn’t even know that “Grammy Hall of Fame” was even a thing.

If your podcast catcher hasn’t figured it out yet, you can always just click on the player below to listen right here (or download it, if that’s your thing) while you admire those feathery outfits.

And, of course, it would be a great birthday present to me if you took the time to give the show a positive rating in whatever software you use to listen to podcasts.

Episode 18–Fame

Happy New Year, HGII fans!

It was 1975 and David Bowie’s professional life was in some turmoil. He was in the middle of breaking a contract with his manager, and he was still trying to deal with the way his life had changed since “Space Oddity” became a hit a few years earlier. With the help of his new friend John Lennon (who advised him to get rid of the manager), he took a riff that his guitarist was noodling around with for another song, and turned it into his first #1 hit in the US.

Lennon and Bowie backstage at the Grammy Awards, 1975.

In a BBC interview recorded only a couple of days before he died, Lennon said that David Bowie had a vast repertoire of talent, and it was interesting to see him do most of his song composition right there in the studio. “He goes in with, like four words and a few guys, and starts laying down this stuff, and he has virtually nothing, he’s making it up in the studio.”

As usual, you have SO. MANY. OPTIONS. for listening. Your favorite podcatcher may already have it, or you can listen/download through the player right here:

And also as usual, if you feel the urge to leave some positive feedback on iTunes or wherever you happen to get your stuff from, I won’t stand in your way.

Oh, and as promised, here’s the clip of Bowie on Soul Train:

 

Episode 11: Failing Upward

EDITED to fix the link. Which makes the first sentence of this post just a little more poignant, no? 

Hey, everybody makes a mistake now and then. That’s why they put erasers on pencils, am I right?

But once in awhile, someone will make a mistake that manages to enhance rather than detract (“Eminence Front,” I’m looking at you.). And that’s where we’re going this week: we’ll look at four songs that had mistakes in them where the artists made a conscious decision to keep the error in place because it actually makes the song a little bit better.

 

And, as usual, you can listen to the show via your favorite podcatcher, or you can just play/download it from right here:

 

And any feedback is good feedback…especially if it’s good feedback. so please take the time to leave a rating on iTunes or whatever app you’re using to listen to the show. Much appreciated! And for your efforts, here’s a video clip of the the engineer’s point of view behind one of the stories in the show:

Update to Episode 1

Hey, gang!

It’s been great to get the positive feedback and such from you folks in the few short weeks since How Good It Is first launched. I made those first few before the official launch date, so I was working in a bit of a vacuum. And when it comes to stuff like this, I’m my own harshest critic. Back in my Radio Days I was known for doing dozens of takes before finally going back and deciding that Take 17 was “eh, good enough”.

One of my brothers has been listening regularly and is probably my second-toughest critic. But he invariably raises good points so I can’t fault him for it. He told me that he’s actively looking for a song (by a specific artist) for me to do a show about. My other brother, I don’t know if he’s been listening, but that’s OK. I’m pretty sure my wife doesn’t listen, either. Or my father, or my sisters, or my daughters, or…you get the picture.

Anyway, this post is actually in response to some feedback I’d received.

During Episode 1 I noted that the song “I’m Not In Love” by 10cc peaked at Number 2 on the Billboard Hot 100 Chart, and that in each of the three weeks it spent in that position, there was a different #1 song. Someone in the Land of Social Media asked me, “So what are those three songs?” You took the time to listen, so I took the time to look it up.

Image result for van mccoy the hustleWhen it first reached #2 the week of July 26, 1975, the #1 song was “The Hustle” by Van McCoy.

 

Image result for eagles one of these nights

For the week of August 2, 1975, The Eagles’ “One of These Nights” was at #1.

 

Image result for jive talkinFinally, on my oldest daughter’s (negative seventeenth) birthday, it was “Jive Talkin'” by the Bee Gees.

 

As a 12-year-old, I was pretty immersed in pop music and I’d look at the Top 20 chart that was published in Long Island’s Newsday every week. I kind of remember that summer being one in which the charts churned a lot of change from week to week. So remaining in one position, even if it was #2, for several weeks, was still a bit of an event.

Next week we dive into a solo single by one of the Beatles.

Episode 1: I’m Not In Love by 10cc

Click here for a transcript of this episode.

In our premiere episode, we take a look at 10cc’s biggest hit, “I’m Not In Love”. We’ll talk about:

  • What does that title mean, anyway?
  • Where did that ethereal sound come from?
  • What’s the story behind the band’s name?

Your RSS feed should have the post by now, but you can always listen to it right here:

Or, if you prefer to download and/or listen on-site, feel free to click this link.

I think we can all tell that it’s been several years since I’ve been behind a microphone. It gets better, I swear.


Some of the sources behind this week’s show:

An interview with Graham Gouldman, songwriter and 10cc band member.

George Tremlett (1976). The 10cc Story. Futura. ISBN 978-0-86007-378-9.

Band name origin:

Snopes.com, “10cc””. Snopes.com. Retrieved 10 August 2010.

“Interview with Kevin Godley, Rock N Roll Universe online interview, April 2007”. Rocknrolluniverse.com. Retrieved 10 August 2010.

“Godley & Creme interviewed in Pulse magazine, April 1988”. Minestrone.org. Archived from the original on 20 November 2008. Retrieved 10 August 2010.

Bossa Nova version, Kathy Redfern’s contribution:

Buskin, Richard (June 2005). “Classic Tracks: 10cc – ‘I’m Not in Love'”. Sound on Sound. Cambridge, England: SOS Publications: 62–69. Retrieved 21 September 2015.

Chromatic Scale recordings:

Presenters: Richard Allinson and Steve Levine (9 May 2009). “The Record Producers – 10cc”. The Record Producers. Season 3. Episode 4. BBC. BBC Radio 2.

Jump to Mercury Records:
“I Write The Songs”. The10ccfanclub.com. Retrieved 27 March 2014.