Devo’s one trip to the Top 40 was a cultural touchstone partly because some people misunderstood the intent of the lyrics, and partly because MTV was starved for programming.
This week’s episode arose from an essay I published on my blog several years ago. I was looking back on some of the stuff I wrote and found this particular piece, and thought, with a little re-writing it might make a decent episode of the podcast. So, re-write I did, and I’m generally happy with the result, though I’m once again fighting off a respiratory thing.
Anyway: James “Sugarboy” Crawford wrote “Iko Iko” in 1953, and recorded it with his band, the Cane Cutters. That version didn’t go anywhere, chart-wise, and neither did any cover that followed, until 1965, when Jerry Lieber and Mike Stoller, using audio from the Dixie Cups’ fooling around between takes, added a backing track and turned their version, with its nonsensical lyrics, into an international hit. The song became such a big deal that the Dixie Cups eventually received partial writing credit for the song because of all the changed lyrics.
And that’s all I’m saying here, go listen to the show.
And please don’t forget to share the show, and/or leave a rating somewhere.
I was a fan of the HBO series “Treme”, and the frequent use of the phrase “Jockamo Fee Na Nay” in many songs had me wondering whether it actually meant anything. Turns out, it does, sort of.
In the early 80s, When I was in college and working at the campus radio station, once in awhile we’d play this song and announce that it was from the album, “Zager and Evans’ Greatest Hit.”
Because we were hysterically funny that way.
But Denny Zager and Rick Evans were, indeed, a One Hit Wonder. In fact, they were the very definition of the phrase, considering that they had NO other charting hits on either side of the Atlantic.
That said, their one hit dominated the Summer of 1969 and provided the background soundtrack to a host of big news stories that took place during the six weeks it spent in the Number One position on the Billboard Chart.
I also learned after recording this podcast that Odessa Symphony, which provided the orchestral parts of the record, is composed entirely of high school students. The high school they came from is Permian High School, which is the setting of the book that later became the film Friday Night Lights. (The TV series was set in a fictional town.)
As promised, here’s the Futurama clip in which the song is parodied:
And although I didn’t promise it, here’s the opening to the Cleopatra 2525 show. Gina Torres, incidentally, is the one singing the show’s theme song:
And, of course, if your podcatcher doesn’t already have the show, you can listen or download right here:
And I’d like just a wee bit of credit for writing “Summer of 1969” here, and saying it at least twice during the show, without making any tired Bryan Adams jokes. You’re welcome.
Zager and Evans provided the soundtrack to one of the most eventful summers of the 1960s, and then they vanished, a true One Hit Wonder. What made this song catch the public’s imagination?
Album on my re-listen radar this week is John Barleycorn Must Die, by Traffic. Wanna feel like an underachiever? Steve Winwood was 22 when this album came out, and it was the band’s FOURTH.
Every now and again I check on the stats for the podcast. For those who don’t know, that means that I can look in on how many times a show has been downloaded, how many times it’s been played through the website, how many times it’s been played through other means, and so forth.
Recently I discovered that the podcast also has geography-related statistics. I can click on a link and it gives me a world map, in which the countries where the shows have been downloaded are highlighted in blue. The darker the blue, the more downloads there have been. So there’s no surprise in noting that the show is more popular in primarily-English-speaking countries than in others.
But I also discovered that if I click on the map, it drills down a little farther. Which means that I can tell that, for the past week, the show was more popular in, say, Nashville than it was in Raleigh, NC or in New York City.
And that’s pretty much all I know. There were 64 downloads in Nashville and 34 in New York City last week. But when I ran stats this morning, something a little weird caught my eye (and I’m going to be hazy on purpose with the details, now)
In the last week or so, the show has had 23 downloads from a town in Alabama. But not only do I know what town in Alabama, the stats report told me what STREET in that town in Alabama. I’ve never seen anything like this before, and of all the places listed, this is the only one. And because the street is kind of short, I could (if I were extra-creepy) go knocking on doors and find out within a few minutes who my Big Fan in that town is. I know, it’s already creepy that I looked it up in the first place, but I was genuinely curious about that listing and whether it actually led to something.
Or, maybe everyone on that block is a fan and they’ve only downloaded a couple of episodes each. Anyway, Hello, Alabama Fan(s)! I envy your proximity to a Publix! ’cause Publix is awesome and the closest one to me is literally a hundred miles away.
Anyway, I promise to use this power only for good, not evil. Though I presume it’s just a glitch. Also, I don’t know how to use it for good OR evil.
The Stone Poneys was the group that launched Linda Ronstadt’s career, but the sad truth is that Capitol Records was never interested in the rest of the band, instead pushing for her to be a solo artist from the beginning. It was only through a little persuasion on the producer’s part that convinced the label that she wasn’t quite ready to work on her own.
Indeed, when “Different Drum” came out as a single in September of 1967, the labels on the 45RPM release credit the band “Featuring Linda Ronstadt”. Ronstadt herself was still reluctant to leave the band, enough that she financed the Stone Poneys’ entire third album herself, losing a ton of money in the process, before finally embarking on her solo career.
The tune was written by Michael Nesmith, of The Monkees fame, and while he didn’t record the song himself until 1972, he did perform it (badly, on purpose) during an episode of The Monkees titled “Too Many Girls”. This would have been right around the time that the original recording, by bluegrass band The Greenbriar Boys, would have come out.
As usual, your podcatcher software should have the show by now, but if you want to download or listen to it here, have at it.
And, of course, your feedback is always welcome. If you’re enjoying the show, please tell all your like-minded friends about it!
The Stone Poneys’ only hit was pretty much the nail in the coffin for that band; Capitol Records took every step they could to cut them out of the loop and take on Linda Ronstadt as a solo artist.
Over the last couple of days I’ve done some nostalgic listening to some stuff I hadn’t heard in awhile.
Y’ever do that? You’re listening to something you haven’t heard in awhile, and you’re like, “Holy COW! Why am I not listening to that more often?”
Last week it was Lucinda Williams’ album World Without Tears. I came back to it when I stumbled over my own review for it on Amazon.com. that album was my entry to her stuff, and it’s amazingly beautiful and raw. Go listen to it however you can. Better yet, I’ll make it easy for you. The first track is supposed to sound warbly at first:
The other one I came back to after finding a copy of the vinyl in a consignment store recently. I was having trouble uploading this week’s episode to Podomatic, and I decided to listen to music while I was noodling it over. So I dug this out and threw it on the turntable:
I may need to cover some deeper tracks, people.
Apologies for the delay; I’m powering through a wicked chest cold, and then my podcasting host was giving me the blues about the audio file, so I eventually had to upload in a different format. I do hope this doesn’t affect your listening experience. Please let me know if it does!
Tears For Fears–specifically founders Curt Smith and Roland Orzabal–had been kicking around the music scene in the UK for a couple of years, and even had a pretty popular album over there before most people in the United States had even heard of them. (Which reminds me: yes, the story I tell about meeting Curt Smith is true. What I didn’t know at the time was that he was doing Seeds of Love publicity stuff solo because he and Orzabal had temporarily broken up the band.)
Even when it came time for the band to release a single in the United States, the label interceded and suggested that while “Shout” was a perfectly good song, it wouldn’t make for a very good debut song. They turned out to be right, and “Shout” was saved for later on, a move that turned the Songs from the Big Chair album, and Tears for Fears, into a huge success.
There’s more to the story, of course, but why waste it here when you can put it in your head? Either your podcatcher has it, or you’re gonna listen to/download it from here:
No episode next week; I’m taking a planned break. In two weeks, we’ll dig on some early Linda Ronstadt.
And of course, comments, tweets, FB notes, Instas–whatever. I love hearing from you!