Last week as Dr. Gregory House rode off with his pal Dr. James Wilson to celebrate Wilson’s last five months of his life. House had faked his own death so he wouldn’t miss being with his friend during his most trying times. The episode was titled “Everybody Dies” – a play on House’s constant mantra “Everybody Lies.”
The producers picked the best possible version of “Enjoy Yourself (It’s Later than you Think) written by Carl Sigman and Herb Magidson that was penned in 1949. The most popular version was recorded by Guy Lombardo and the Royal Canadians. It was a top 10 hit for Lombardo. And you thought he only sang Auld Lang Syne.
For House, the version by Louis Prima and Keely Smith was the better choice. Louis never took himself seriously – after I learned he was King Louie in the “Jungle Book,” I could never take him seriously either. So “Enjoy Yourself (It’s Later than you Think).
Thursday, May 31, 2012
Wednesday, May 30, 2012
Bruce Cockburn: Wondering Where The Lions Are
It took Bruce Cockburn five albums to be heard in the lower 48, but what a great tune to ingratiate himself to a fickle American audience. I loved “I Wonder where the Lions Are” since I first heard it over WAMX – my top 40 employer in 1979. From the LP “Dancing in the Dragon’s Jaws,” “I Wonder where the Lions Are” peaked at 21 on the Hot 100.
With the amount of airplay the album “Stealing Fire” got in 1984, it’s hard to believe today’s feature was Cockburn’s only top forty hit in the US. While American artists are not familiar with his vast catalog (er, catalogue for you Cannucks) of music, I recommend that you purchase “Waiting for a Miracle: Singles 1970–1987.” I got the cassette copy from True North Records in the 80s and it played in my car for the longest time.
With the amount of airplay the album “Stealing Fire” got in 1984, it’s hard to believe today’s feature was Cockburn’s only top forty hit in the US. While American artists are not familiar with his vast catalog (er, catalogue for you Cannucks) of music, I recommend that you purchase “Waiting for a Miracle: Singles 1970–1987.” I got the cassette copy from True North Records in the 80s and it played in my car for the longest time.
Tuesday, May 29, 2012
David Gogo: Whiskey Train
Tasty Licks Tuesday with David Gogo and his rendition of Procol Harum’s “Whiskey Train” – a song that was composed by guitarist Robin Trower and lyricist Keith Reid. The original came from Procol Harum’s album “Home,” which is not their best known LP, but it was the first one I ever owned.
Gogo actually works on two incarnations of Robin Trower on this cut. The first incarnation is in the song proper which emulates Trower’s classic licks on “Whiskey Train’s” riff. He finishes off the song by melding it with an instrumental that is reminiscent of Trower’s playing in the late 70s on albums like “Bridge of Sighs.” He captures both well.
Of the later portion of the tune, Gogo opines “cranked my Gibson SG through my Vox amp and some Fulltone effects pedals, including the Soul Bender.” Which is fortunate , as the cut appears on his CD “Soul Bender.”
I love this cut, but I do have one eentsy teentsy problem with the cut. There is a drum beat at 1:16 that bothers me – it may just be me – listen and see what you think. David Gogo on “Whiskey Train” – would this be a real live “Whiskey-A-Gogo?”
Gogo actually works on two incarnations of Robin Trower on this cut. The first incarnation is in the song proper which emulates Trower’s classic licks on “Whiskey Train’s” riff. He finishes off the song by melding it with an instrumental that is reminiscent of Trower’s playing in the late 70s on albums like “Bridge of Sighs.” He captures both well.
Of the later portion of the tune, Gogo opines “cranked my Gibson SG through my Vox amp and some Fulltone effects pedals, including the Soul Bender.” Which is fortunate , as the cut appears on his CD “Soul Bender.”
I love this cut, but I do have one eentsy teentsy problem with the cut. There is a drum beat at 1:16 that bothers me – it may just be me – listen and see what you think. David Gogo on “Whiskey Train” – would this be a real live “Whiskey-A-Gogo?”
Monday, May 28, 2012
Bruce Springsteen: Born In The U.S.A.
I had the opportunity to see Bruce Springsteen on the fourth leg of the “Born in the U.S.A.” tour. The show was at Three Rivers Stadium in Pittsburgh on August 11, 1985. The album struck a chord and it raced up the charts to the number one slot. It also produced a record seven top 10 singles with two of those, “Dancing in the Dark” and “Glory Days” appearing in the top five.
While not a patriotic song, “Born in the U.S.A.” chronicles the struggles of a Vietnam War soldier and veteran. It reminds us that these men, who often died or at most risked their lives, were not given the due respect because of their connection to an unpopular war. On this Memorial Day, let us not forget the sacrifices that our soldiers, sailors, marines, and airmen have made – even in wars that did not receive the support of public opinion.
Selling over a million copies, the single “Born in the U.S.A.” was certified gold. It peaked at #9 on the American singles charts and at #8 on the rock charts in 1984. Interestingly enough, although the singles garnered more sales in the America, the song charted higher outside of the U.S.A. In the UK and The Netherlands, “Born in the U.S.A.” charted at the #5 position and it was #2 record in Australia. In Ireland, it was a double sided #1 along with its flip “I’m on Fire.”
In addition, the “Born in the U.S.A.” album received the following original certification awards:
Later certifications were issued at the diamond level occurred in the US (10 million) and Canada (800 thousand). In addition, the LP reached the number one slots in Australia, Canada, Germany, The Netherlands, New Zealand, Norway, Sweden, and the UK.
While not a patriotic song, “Born in the U.S.A.” chronicles the struggles of a Vietnam War soldier and veteran. It reminds us that these men, who often died or at most risked their lives, were not given the due respect because of their connection to an unpopular war. On this Memorial Day, let us not forget the sacrifices that our soldiers, sailors, marines, and airmen have made – even in wars that did not receive the support of public opinion.
Selling over a million copies, the single “Born in the U.S.A.” was certified gold. It peaked at #9 on the American singles charts and at #8 on the rock charts in 1984. Interestingly enough, although the singles garnered more sales in the America, the song charted higher outside of the U.S.A. In the UK and The Netherlands, “Born in the U.S.A.” charted at the #5 position and it was #2 record in Australia. In Ireland, it was a double sided #1 along with its flip “I’m on Fire.”
In addition, the “Born in the U.S.A.” album received the following original certification awards:
- 15 times platinum in the US (for 7.5 million sales),
- 10 times platinum in Canada (800 thousand sales),
- 16 times platinum in New Zealand (240 thousand sales),
- 13 times platinum in Australia (910 thousand sales),
- Triple platinum in the UK (300 thousand sales), and
- Double platinum in Germany (400 thousand sales).
Later certifications were issued at the diamond level occurred in the US (10 million) and Canada (800 thousand). In addition, the LP reached the number one slots in Australia, Canada, Germany, The Netherlands, New Zealand, Norway, Sweden, and the UK.
Sunday, May 27, 2012
Dierks Bentley: Gonna Get There Someday
Today I’ll be with friends for a Decoration Day celebration in Boone County, West Virginia. I’ve been doing this since 1977 and it is a time of joy to see old friends and a time of sadness as we visit the graves of departed friends.
Our Spiritual Sunday song comes from country artist Dierks Bentley. As he sings “Gonna Get There Someday,” it is revealed that he is talking to his departed mother on the anniversary of her death. Until he says “Momma” that isn’t clear as it It could have been his wife or girlfriend.
It will be a bittersweet day for those placing flowers on the graves, but there is the hope that you’re “Gonna Get There Someday.”
Our Spiritual Sunday song comes from country artist Dierks Bentley. As he sings “Gonna Get There Someday,” it is revealed that he is talking to his departed mother on the anniversary of her death. Until he says “Momma” that isn’t clear as it It could have been his wife or girlfriend.
It will be a bittersweet day for those placing flowers on the graves, but there is the hope that you’re “Gonna Get There Someday.”
Saturday, May 26, 2012
Jethro Tull: Thick As A Brick
Released in May 1972, Jethro Tull’s “Thick as a Brick” was nearly a 44 minute (43:46 to be exact) song that was split over two sides of the album. The LP, with its newspaper styled cover, spoofed the concept albums of the prog rock bands of the day.
While the album is devoid of a hit single, radio edits were issued and more popular theme of the extra long song were often heard on album radio – but rarely on Top 40 – in fact, had a commercial radio edit been issued in the US, the single probably would have been a top 20 release based on the commercial success of the album. Original copies of the Reprise release opened up to the dimensions of a full newspaper.
“Thick as a Brick” was a #1 charting album on Billboard’s Top 200 Albums chart. It was a departure for the band with the use of instruments heretofore not previously utilized by Ian Anderson and his companions.
While it started as a spoof, side two shows how Tull fit into the prog rock genre very well. The album/song features different time signatures and begs to be consumed in one listen. Although I bought the album much later (from a friend), I had the entire 44 minutes captured from an album feature that was played on WDVE in Pittsburgh. Even though side two is interesting, I favor side one most.
While the album is devoid of a hit single, radio edits were issued and more popular theme of the extra long song were often heard on album radio – but rarely on Top 40 – in fact, had a commercial radio edit been issued in the US, the single probably would have been a top 20 release based on the commercial success of the album. Original copies of the Reprise release opened up to the dimensions of a full newspaper.
“Thick as a Brick” was a #1 charting album on Billboard’s Top 200 Albums chart. It was a departure for the band with the use of instruments heretofore not previously utilized by Ian Anderson and his companions.
While it started as a spoof, side two shows how Tull fit into the prog rock genre very well. The album/song features different time signatures and begs to be consumed in one listen. Although I bought the album much later (from a friend), I had the entire 44 minutes captured from an album feature that was played on WDVE in Pittsburgh. Even though side two is interesting, I favor side one most.
Short Radio Edit
Longer Radio Edit
Side One – Part 1
Side Two – Part 2
Friday, May 25, 2012
The Bee Gees: I Can't See Nobody
Since the passing of Robin Gibb this week, I thought I would feature one of his “B” sides as our Friday Flipside. Despite the obvious grammatical error, The Bee Gees “I Can’t See Nobody” has an excellent arrangement and it features lead vocals by Robin Gibb.
The song was flip of the band’s first American single “New York Mining Disaster 1941” that charted at 14 in the US. It was a top fifteen hit in most countries breaking into the top 10 in Germany and the top five in The Netherlands and New Zealand. “I Can’t See Nobody” failed to chart.
It is a minor key number that showcases Robin’s talent and his unique voice. The single was released in 1967 and appeared on the LP “The Bee Gees’ 1st.” The album title was a misnomer as The Bee Gees had previously released two other albums in Australia: “Barry Gibb and The Bee Gee’s [sic] Sing and Play 14 Barry Gibb Songs” and “Spicks and Specks.”
The song was flip of the band’s first American single “New York Mining Disaster 1941” that charted at 14 in the US. It was a top fifteen hit in most countries breaking into the top 10 in Germany and the top five in The Netherlands and New Zealand. “I Can’t See Nobody” failed to chart.
It is a minor key number that showcases Robin’s talent and his unique voice. The single was released in 1967 and appeared on the LP “The Bee Gees’ 1st.” The album title was a misnomer as The Bee Gees had previously released two other albums in Australia: “Barry Gibb and The Bee Gee’s [sic] Sing and Play 14 Barry Gibb Songs” and “Spicks and Specks.”
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