The Year's The Thing: 1984 (a twofer)

When George Orwell wrote his classic novel “Nineteen Eighty-Four,” he probably never imagined its impact upon society. The book introduced the idea of “Big Brother,” “newspeak,” “thoughtcrime,” “doublethink,” as well as others into the English language. In fact, dystopian societies as featured in the novel have become known by the eponymous adjective “Orwellian.”

The impact of “Nineteen Eighty-Four” has spread to rock music as well, and today we feature two songs titled as “1984.” The first of these was recorded in 1969 by the band Spirit. Originally issued as a single only release, Spirit’s “1984” was written and sung by lead guitarist Randy California.

Spirit’s “1984” made it to 12-inch disc in 1973 when it appeared on “The Best of Spirit” album. It later was issued as a bonus track on the CD release of Spirit’s third album “Clear.” The single peaked at #69 on the Hot 100.

In 1973, David Bowie began working on a stage musical based on Orwell’s novel; however, George Orwell’s estate would not give permission for its production. The music that Bowie had already recorded in preparation for this work eventually was issued as part of his 1974 “Diamond Dogs” album.

Released as single only in the US, Bowie’s “1984” failed to chart. Its funky, Isaac Hayes inspired, proto-disco production was a new musical direction for Bowie. Unfortunately, “1984” failed to chart.

Alan Parker plays the chunka-chunk, wah-wah guitar that provides the overall base for the song’s production. Ten years later in 1984, Tina Turner recorded her own version of the Bowie classic. Her version is equally as good, but I prefer Bowie’s original.

Al Green Twofer

He’s a member of the Rock and Roll Hall of Fame, the Gospel Music Hall of Fame, the Songwriter’s Hall of Fame and is adept at both soul and gospel music – Al Green. Last week when I was contemplating a label to feature, Hi Records out of Memphis was on my radar; however, because of the lack of depth of the label, I was unable to come up with a satisfactory list of seven records that I hadn’t already featured.

I had already featured numbers by Al Green, Ann Peebles, Syl Johnson, and a few others – so I was strapped on what I could select. Since Al Green had 14 Top 40 releases, his material was still untapped and there were several of his tunes that I hadn’t already discussed in the past. So for this Twofer Tuesday, I present two selections from Al Green.

Tired of Being Alone

Although “Tired of Being Alone” only peaked at 11 on the pop charts, it was a Top 10 R&B record and Al Green’s first gold single. In addition while some of his previous recordings were R&B hits, it took 10 singles for Green to make it into the Top 40.

The 1971 version was actually the second version of “Tired of Being Alone” to be recorded by Hi. Green had recorded it in 1969 and had intended to release it at that time; however, some problems in the recording process caused the 1969 version to be shelved and to never see the light of day

I’m Still In Love With You

Four singles later, Al Green had his second #1 soul hit with 1972’s “I’m Still in Love with You.” It also was a #3 hit record on the Hot 100 and received enough Adult Contemporary airplay to chart at #33.

It was Green’s second of his four triple crossovers. The others were “Let’s Stay Together,” “You Ought to be with Me,” and “Sha-La-La (Make Me Happy).” Al Green helped define soul music in the 70s and his music should be required listening of everyone.

Reprise Records: A Kinks' Twofer

It’s time for Twofer Tuesday and keeping in our theme with our Fourth Week Label Feature on Reprise Records, I had to narrow down which one of the multi-hit recording artists to feature. The Kinks won the toss and are today’s double header. Signed in the UK with Pye Records, Mo Ostin had arranged for several Pye artists, such as The Kinks, to be distributed in the US on Reprise.

Tired of Waiting for You

Recorded at Pye Studios in December 1964, “Tired of Waiting for You” was The Kinks’ third Top 10 hit in the US. In addition, this 1965 release from their album “Kinda Kinks” was tied with 1982’s “Come Dancing” as the band’s highest charting singles in America; both peaked at the #6 position.

In the UK, “Tired of Waiting for You” was the second of The Kinks’ three number one releases that included “You Really Got Me” and “Sunny Afternoon.” It is frequently heard even today on oldies radio.

A Well Respected Man

While The Kinks came from a working class background, these “Muswell Hillbillies” were adept at drawing from numerous musical traditions and Ray Davies became quite the songwriter as our second song exhibits. While The Kinks often resulted to low brow antics on and off stage, they were often shunned by those of a respectable echelon of society and were in fact banned by the American Federation of Musicians from performing in the US for four years.

Because of the snobbery that Ray Davies encountered at the hands of other guests at a resort hotel in 1965, he penned “A Well Respected Man.” The tune uncovered unconventional activities of fictional members of the upper crust. While the song appeared on the “Kwyet Kinks” EP in the UK, it never charted, as it was not issued as a single. Pye released it on the mainland as a single and Reprise did the same in the US.

Written in a music hall tradition that was uncommon to most Americans, “A Well Respected Man” did quite well on this side of the Atlantic and it may have been the message of hypocrisy that resonated with American audiences. It charted at #13 in late 1965.  It’s great writing like this that has earned Ray Davies a spot in the Songwriter’s Hall of Fame.  See http://www.telegraph.co.uk/culture/hay-festival/10856940/Ray-Davies-America-has-finally-accepted-The-Kinks.html.

Richard & Linda Thompson Twofer

Do I need to apologize for my absence? Probably, as I have taken the largest hiatus from this blog in the five years that I been writing. I’ve been going through some changes in my life in the recent past and will be involved in more in the next several months – more on that later. Part of the problem is that I’ve not been too inspired to write, but I have been collecting songs to feature during my vacation of sorts.

Well, let’s get down to brass tacks and have a Twofer feature from Richard and Linda Thompson. Last week, I was listening to Pandora and was reminded of a tune from the then married couple of Richard and Linda Thompson from their final album together – “Shoot out the Lights” from 1982.

The title, perhaps prophetic of their marriage, is the antithesis of their first album together as husband and wife – “I Want to See the Bright Lights” from 1974. The former album’s moniker was full of hope, while the latter’s identity was “what’s the use.” Was this a history of their marriage? Perhaps, but I hesitate to say for sure. Interestingly enough, both albums achieved critical acclaim and are considered the best works by the duo and some of the best work featuring Richard Thompson. It’s hard to argue against this.

Wall of Death

For today’s Twofer, will go in reverse order and feature a 1982 cut and then round up with one from 1974. While R.E.M. recorded a version of “Wall of Death,” there’s no comparison with the original by Richard and Linda Thompson. The song champions the carnival attraction where a person would ride a motorcycle on the inside of a cylinder, which was often constructed as a pit. Centripetal force keeps the motorcycle from falling.

While Linda Thompson sings the harmony lead, “Wall of Death” is almost a Fairport Convention reunion. Richard sings lead and plays lead guitar, he is joined by Simon Nicol on rhythm guitar, Dave Pegg on bass, and Dave Mattacks on drums. Even Fairport’s producer, Joe Boyd, was brought in to produce this classic song and album. Although the subject matter is unusual, “Wall of Death” has all of the elements of hit record.

Down Where the Drunkards Roll

“I Want to See the Bright Lights” was not released initially in the US – which was unfortunate in 1974. I always loved the cover of this album. Much like Fairport’s “What We Did on our Holidays” unusual artwork that depicted a blackboard assaulted by the band, “I Want to See the Bright Lights’” cover photo included a back lit glass with the album’s title scrawled in the condensation. While both albums made it for American release, neither retained their original titles nor their artwork.

“I Want to See the Bright Lights” eventually made it these shores in 1978 as disc one of Richard Thompson’s double album “Live! (More or Less).” “Down Where the Drunkards Roll” is my favorite cut on the album and features lead vocals by Linda Thompson. Folksinger Royston Wood contributes the low vocals.

Richard plays guitar and electric piano. I am not sure there is any bass or drums on this cut – if so they are down in mix – otherwise the acoustic guitar is covering both the low end and the rhythm. The crowning addition to this tune is Simon Nicol’s Appalachian dulcimer. Good stuff from Linda and Richard Thompson.

Geffen Records: Planet P Twofer

Day Three of our look at Geffen Records bring about a twofer from the Planet P Project. The brainchild of Tony Carey, Planet P was an experimental outlet for Carey who was signed at the time to Rocshire Records. Earlier the same year (1983), Carey had a near hit with “I Won’t Be Home Tonight” and he was the opening act for Night Ranger’s tour that spring. I saw both in concert at the Charleston (WV) Municipal Auditorium. We had great seats, but I don’t remember much about Carey’s performance.

Accented by German musicians, Planet P Project moved away from Carey’s pop sound into a new wave/electronica vein. The band’s debut album was its only Geffen release. By 1984, both Carey and Planet P moved to MCA where he had a modicum of success with “A Fine Fine Day” and “The First Day of Summer.” Although other singles were released by Planet P, the band never became a household name.

In 1983, Geffen released two singles from the debut album “Why Me?” and “Static.” “Why Me?” was Project P’s biggest single. While it made it to #4 on the Album Rock charts, it only inched up to #64 on the Hot 100. The opening synthesizer always reminded me of the beginning of Rush’s “Tom Sawyer.”

Both Carey and Planet P had a following on AOR radio and Geffen released “Static” as the follow-up to “Why Me?” “Static,” however, failed to chart in the Hot 100, but it received enough album play to place at the #24 spot on the rock charts. Good stuff from a little known band from the 80s.

Uni Records: Love Unlimited Twofer

Not generally considered a soul label, Uni Records signed a number of R&B artists including the trio: Love Unlimited, which had two Top 40 singles in the 1970s; however, only one was on the Uni label: “Walking in the Rain with the One I Love.” It’s one of our Tuesday Twofers for our fourth week label special.

“Walking in the Rain with the One I Love” was Love Unlimited’s highest mainstream hit charting at #14. This 1972 hit also placed at #6 on the R&B chart. The song was composed by Barry White and was produced by White and Gene Page. Yes, I believe that’s Barry White’s voice on the telephone.

Love Unlimited was a family group featuring sisters Glodean and Linda James and their cousin Diane Taylor. Glodean would later become the future Mrs. Barry White. In 1973, White moved Love Unlimited over to 20th Century Records where they would have the #1 R&B hit “I Belong to You.” The trio disbanded in 1975 following the death of Diane Taylor. The name, however, would be retained by Barry White for the incarnation of his Love Unlimited Orchestra.

For our second Uni Records/Love Unlimited Twofer, I present a single that perhaps you’ve never heard. “Another Chance,” written by Barry White and Tom Brocker, was the group’s third single for Uni. Unfortunately, it never charted. I really love this cut and its production – it’s so indicative of the Barry White sound – a recitation, lush strings, a harp, and a Coral electric sitar. It’s so 70s soul to a “T” that it’s almost campy in 2014. Good stuff – too bad it received virtually no airplay.

The Devolution of Bob Casale - A Devo Twofer

An unfortunate event occurred yesterday. Bob Casale, one the founding members of Devo, died of heart failure in Los Angeles. Casale, a guitarist with the band, was not as visible as Mark Mothersbaugh who fronted Devo; however, he was integral to their overall sound. The band consisted of the two Mothersbaugh brothers, Mark and Bob; the two Casale brothers, Gerald and Bob (AKA Bob2); and Alan Myers who passed away in 2013.

Devo took its name from a shortened form of devolution – as the band quipped that mankind wasn’t evolving, it was devolving. In memory of Casale, we dedicate today’s Twofer Tuesday selection.

While the band only had one legitimate hit, 1980’s “Whip It,” I plan to lead with their near miss “Working in the Coal Mine.” From the movie “Heavy Metal,” “Working in the Coal Mine” was a reworking of Lee Dorsey’s Top Ten hit from 1966.

I remember this record especially well as we played it at WCIR in Beckley, WV and the record, I believe, charted locally in 1981 at #2. It was a big hit in coal mining country that didn’t translate well everywhere and nationally it peaked only at #43.

For the promotion of the record, Jay Brooks, our Elektra/Asylum regional rep out of Pittsburgh, came down to do a photo shoot with Ron Hill and me. We went into the Beckley Exhibition Coal Mine and took photos of the three of us holding the album, the single, and pick axes. All three of us wore miners’ helmets as well.

We also had some photos taken with a retired coal miner who served as the tour guide. Our photo appeared on the cover of Elektra/Asylum’s promotion department’s in-house magazine. Unfortunately, I have that packed away somewhere – so I can’t share it here. Parts of this song always bothered me as the abrupt rhythm changes sounded like the record was skipping. I wonder how many albums were returned because of this.

Besides their Energy Domes, Devo is best remembered for their only hit proper: “Whip It.” Released in the fall of 1980, “Whip It” was the band’s only foray into the Top 40. Peaking at #14, the single appeared on “Freedom of Choice.” Although the band had released several singles, two EPs, and two albums prior to “Freedom of Choice,” “Whip It” was the band’s introduction to the mainstream public.

Bob Casale plays bass in the official video; however, the bass parts were played on a custom Moog synthesizer. The whip sounds were also created via synthesizer. Highly memorable, the guitar parts were directly inspired by Roy Orbison’s “Pretty Woman.” Listen hard and you’ll hear the similarities – although the phrasing is much different.

RIP Bob Casale – thanks for some very interesting music.

Twofer Tuesday: The Michael Stanley Band

By suggestion from my friend Greg Rector, I bring a new Tuesday feature – “Twofer Tuesday.” Actually, I’ve been considering this for some time as the idea is similar to a feature we had at WOAY AM/FM in Oak Hill, WV. Nearly every AOR station in the 80s did “Twofer Tuesdays,” so many will be familiar with the concept. Greg even volunteered a few selections for this feature’s maiden voyage. Today, we feature two cuts from The Michael Stanley Band’s “Heartland” album from 1980.

The Michael Stanley Band was the darling of the Rust Belt. From Cleveland, OH, they constantly packed the local arenas whenever they played on their home field. While the band had three major record deals with Epic, Arista, and EMI-America, they failed to garner a large national base.

With disappointing album sales and being dropped from Arista, the band took it upon themselves to record the “Heartland” album and shop it to various labels. If that failed, they would release it themselves.

The tactic worked, as EMI-America picked up MSB and released four of their albums. Three of these would become their highest charting releases. While they failed have a Top 20 album, they had a good chart showing for a band who had a limited regional following.

“Heartland” featured two single releases “He Can’t Love You” and “Lover.” Released in 1980, “He Can’t Love You” was written by keyboardist Kevin Raleigh who also sings lead on the cut. “He Can’t Love You” became the band’s highest charting single when it peaked at #33 in 1981.

The follow-up single, “Lover,” didn’t fare as well and the band’s fourth highest charting single at #68. Michael Stanley, who wrote “Lover,” sings lead. Both songs feature the tenor saxophone work of Clarence Clemons of the Bruce Springsteen’s E Street Band.