The Cat Empire: Sunny Afternoon

I got thinking about this song yesterday as the rain made the entire afternoon very dismal. I was ready for a “Sunny Afternoon.” I began searching for covers of this song originally done by my favorite hillbillies – Muswell Hillbillies that is – The Kinks. I found this version by Cat Empire from Melbourne, Australia. The Cat Empire, who sport an eclectic mix of styles, grew out of a nine piece jazz ensemble called Jazz Cat.

It took me awhile to figure out the rhythm instrument that is vamping chords. I originally thought that it was a chord harmonica and I got out mine and was able to replicate the sound to an extent. As I listened to the song further, there are telltale signs that this is not a harmonica in any shape, form, or fashion.

There are a couple of instances where there are grace notes being played and a couple of chord changes that would require acrobatics to occur on a chord harmonica. The instrument appears to be a melodica – I got mine out and bingo, I could do the grace notes as well as the quick chord changes. I really like this rendition that comes from the various artists compilation – “Like a Version, Volume Two.”

The Kinks Original

I love this video of “Sunny Afternoon” that was obviously shot in the middle of winter. Watch drummer Mick Avory on this video. The song only charted at #14 in the US, but was a number 1 hit in the UK, Canada, and the Netherlands. Ironically, this single was released this week 44 years ago.

Iona: Chi Rho

For our Spiritual Sunday selection we head to the Inner Hebrides to the island of Iona where a strong Christian presence developed during the first millennia A.D. In 563 A.D., a monastic leader Colm Cille, also known as Columba, was exiled from Ireland and he and 12 followers landed on Iona where they would build a monastery. It is thought that the ancient illuminated manuscript known as the Book of Kells was at least partially produced on Iona during the late 8th century.

Chi Rho page from the Book of Kells (click for a larger version)

This version of the Gospel of Christ contains beautiful illustrations that accompany the hand written text. One of the better known of the 340 folios is the page termed Chi Rho after the first two Greek letters in the word “Christ” – Χριστός. Chi, resembling the Latin X, but producing a “ch” sound and Rho, which appears as the Latin/English letter “P,” but is the equivalent to “R” are the focal point of this page. The Lindisfarne Gospel, produced in the same era, has a Chi Rho page as well. The combined form of these two letters or Christogram (☧) has been in use since the time of Constantine who is said to be the first to utilize this symbol that has continued to the present. Actually, both manuscript examples add the third letter of Χριστός - an iota or Greek equivalent of "I."

Chi Rho page from the Lindisfarne Gospel (click for a larger version)

The progressive/Christian Celtic band Iona took their name from the island where three principal members of the band met in the late 1980s. In 1992, Iona released the concept LP: “The Book of Kells.” “Chi Rho” was the featured cut from the LP and quickly became one of their fans’ favorite pieces. The only problem with the song is that lead vocalist Joanne Hogg mispronounces the Greek letters (take it from me – I have a minor in Greek). While she sings “Chee” – Ro, the correct pronunciation of Chi is “Kie”; therefore, the title should sound similar to the capital of Egypt – “Cairo.” Despite the obvious (from a Greek perspective) mispronunciation, the message filters through.

Live Version from Dutch Television

Studio Version

Lyrics

Verse 1
Color of green
Green for the vine
For the leaves and the branches
The tree of life

Color of red
Red for the wounds
That are deeper than I can know
How deep the flow

Chorus
By Him all things, were created
By Him all things, were created
And the fullness, of the Godhead
Is in Him
Chi-Rho

Verse 2
Color of gold
Gold for a throne
For the light that is blazing
From His face
Colorless white
For purity
White as snow, the colors flow
The mystery of Chi-Rho

Bruce Cockburn: Stealing Fire

Over the last year, I’ve had the opportunity to feature a number of personal firsts on this blog.

• The first LP I owned: Moody Blues – “On a Threshold of a Dream.”
• The first LP I purchased with my own money: “Buddy Holly’s Greatest Hits.”
• The first single I purchased with my own money: The Byrds – “Mr. Spaceman.”
• My first pre-recorded cassette tape: The Byrds – “The Notorious Byrd Brothers.”
• My first 8-track tape: Robin Trower – “Bridge of Sighs.”
• My first concert: Poco at Pittsburgh’s Syria Mosque in August 1973.

There are still a few firsts I have to cover and one of those is today’s feature – my first CD. In 1984, I had just taken over the reins as program director of WOAY-FM. While the station had an excellent format under its previous operations manager, the Album Oriented Rock format never generated that much in advertising dollars despite the fact there were numerous listeners to the station. Charlie Jennings, my predecessor as PD, and the person who hired me to do mornings in 1983 really deserves the credit for his Adult Rock format. In addition, the station had a number of talented announcers that were well liked in the market.

My task was to transform it from and AOR station into a Contemporary Hit Radio or CHR station and go head to head with my former employer WCIR-FM. The spring Arbitron ratings were quite favorable to us and this netted the station Parallel Three (small market) CHR/Top 40 reporting status in Radio & Records, Billboard, and Cashbox. The station had already been reporting to Radio & Records as an AOR station; however, CHR received more notice from the record companies and concert promoters and it was thought that this format change would net more in sales. The formula worked for a while.

Because we were in a transitional phase in 1984, I was receiving product from the record companies that included both AOR and CHR releases. Often the (non dance mix) 12 inch singles were issued to AOR radio to generate initial interest; therefore, we had a slight advantage in this regard. During that summer, A&M (who was distributing Gold Mountain Records) sent me the latest Bruce Cockburn (pronounced – CO-burn) release in three formats: vinyl, high quality cassette, and CD. Additionally, the singles from the LP were issued in 7 inch and 12 inch formats.

Cockburn’s “Stealing Fire” has the distinction of being my first CD. In 1984, the station didn’t have a CD player (and didn’t have one by the time I left in 1987) and neither did I. I got my first CD player a year later when I placed 21st in the Active Industry Research’s fourth “Pick the Hits” contest. I placed in the winners’ circle five times receiving both cash and prizes. Until I received that CD player, I was content to listen to the cassette. Five months after my promotion, I purchased a new 1984 Chevy Cavalier. It was my first car with a cassette player and “Stealing Fire” was the first cassette played.

Lovers in a Dangerous Time

While the first single, “Lovers in a Dangerous Time,” had greater commercial appeal and a more mainstream sound, it failed to chart in the US. It peaked at #24 in Canada, but that success did not translate across the 49th parallel and the St. Lawrence Seaway. If you look closely in the video, you’ll notice that Fergus Marsh of Cockburn’s band is playing a Chapman Stick^®. This instrument is used throughout the LP and is responsible for giving the album its signature sound.

Making Contact

I’m not sure if the second single, “Making Contact” was released in the US – if so, it performed as poorly as the first – but it still is an excellent song. Even in his native country, the song failed to break the Top 40 and landed at #80. Here’s a live version from a 1986 concert in Munich.

If I had a Rocket Launcher

The third single was an MTV favorite and “(If I had a) Rocket Launcher” had enough angst that its album radio airplay carried it to 88 while in Canada it just bubbled under the top 40 at 49. Like much of the album, the lyrical content dealt with the horrors and tragedies that Cockburn witnessed firsthand while on humanitarian trips to Central America.

Maybe the Poet

I truly believe that Bruce Cockburn is one of the more introspective songwriters of the last 35 years. It is unfortunate that he is not as well known in the US as he should be. Additionally, there is a dearth of material from this album on YouTube. I had planned to use “Sahara Gold” as one of the cuts, but YouTube removed it this week. Therefore, I will leave you with one final cut: “Maybe the Poet.”

Johnny Winter And: Rock And Roll Hoochie Koo

“Who is 5 foot, 4 inches tall, plays a mean guitar, & whose first group scored a US number 1 hit record in 1965?“

Nils Lofgren (ZZZZTTT) – well, he plays a mean guitar, but he’s only 5’3”, and although he played piano on Neil Young’s “Southern Man” as part Crazy Horse, it was not a hit single. Besides that, Nils next project, the band Grin, never did achieve the popularity it deserved.

OK, I’ll ask again, “Who is 5 foot, 4 inches tall, plays a mean guitar, & whose group scored a US number 1 hit record in 1965?”

Suzi Quatro (ZZZZTTT) – she is 5 foot even and looked similar to our mystery person, but sadly Ms. Leather Tuscadaro played bass most of the time and although “Can the Can” went number one in Australia and throughout Europe – it was largely ignored in the US. Although, Quatro does bear a striking resemblance to our mystery artist, unfortunately it’s not her.

Quatro (left) and Derringer (right) - or is the other way around?

The artist in question was part of the rock band the McCoys who recorded the #1 hit “Hang on Sloopy” Rick Zehringer, who later changed his name to Derringer, because of the derringer pistol used on the Bang Records logo, is the 5’4” guitar virtuoso in question.

Towards the end of 1973, Rick Derringer released his long awaited solo album “All American Boy.” Drawing from his musical experience, he opened the album with a song that he recorded not once but twice in previous groups: Johnny Winter And and Edgar Winter’s White Trash. The two previous versions or “Rock and Roll Hoochie Koo” featured not Derringer on vocals, but rather Johnny Winter. Although not part of Edgar Winter’s White Trash, Johnny appeared as a guest on his younger brother’s live album “Roadwork.”

Johnny Winter And – does it first

Although a studio version of this tune is not available on YouTube, a live 1971 recording showcases a slightly different guitar arrangement and slower tempo than Rick’s later solo hit. The original version appeared on the Johnny Winter And LP in 1970 and featured Rick and Johnny’s brother Edgar. Therefore, Johnny's version qualifies as our Friday Firsts feature.

Edgar Winter’s White Trash – more of Johnny Winter and Edgar and Rick

On White Trash’s second LP, “Roadwork,” Edgar’s older brother and former bandmate in Johnny Winter And is featured on one cut – you guessed it – “Rock and Roll Hoochie Koo.” You can hear how the song had evolved at this point with the influence of Edgar Winter’s keyboard arrangement .

Rick Derringer’s hit version

From “All American Boy,” Rick Derringer’s version of his own composition topped the charts in 1974 at #23 with his first solo record on the Blue Sky label.

Nick Drake: From The Morning

A while back, I featured the title cut from Nick Drake’s “Pink Moon” album as a TV Thursday feature as it was used extensively in Volkswagen ads. Drake’s music has gone full circle as “Pink Moon” opened the album and today’s feature song, “From the Morning” closed it out. The song is now featured in US commercials for AT&T’s and their theme “Rethink Possible.”

You’ll find more on Drake’s music in the previous post.

AT&T Commercial

Songs With A Symphonic Flair

Today’s feature tunes include several movements and are much like mini symphonic pieces rather than typical three or four chord rock ‘n roll songs. Nearly all exceeded five minutes in length and had variations in structure, tempo, and sometimes time signature. While this is atypical in the world of rock music and is not the formula structure for a hit, many of these songs have become well known and some might be even termed as anthemic. Sometimes the titles are obscured in or even absent from the lyrics. Three of the five examples are like this.

Crosby, Stills, and Nash: Suite Judy Blue Eyes

From the very first CSN LP, this Stephen Stills composition has him singing and playing all of the instruments sans drums – which are courtesy of Dallas Taylor. Graham Nash and David Crosby join in on vocals. In fact, it’s Nash’s voice that is the most distinctive voice of the three during most of the song.

The author and Graham Nash in 1982

In the mid 70s, I read an interview with Stephen Stills and he confessed that, on this song about Judy Collins, he tuned his guitar low to high – E-E-E-E-B-E to get the distinctive sound.

My favorite story regarding this song is about one my radio news compadres who went by the contrived moniker of Mike Corsair (my suggestion based on the WW2 US Navy plane). It seems that Mike loved this song so much that he went to the store one day and found it listed on the live LP “4 Way Street.” Not really wanting to spend the money on a double album, but wanting this song, he bought it anyway. At home, he put it on the turntable and was ready to hear a live rendition of his favorite CSN song. The needle hit the vinyl and within moments he was in the midst of “Suite Judy Blue Eyes” only to find that the album contained only the final 33 seconds of the song. A lesson to learn – don’t always believe the label.

The single, which was cut down to from 7:28 to 4:35, charted at #21 in 1969. I had an opportunity to see CSN twice – once in Huntington, WV in 1977 and in Charleston, WV in 1982. I am also thinking that I’ve also seen Crosby and Nash as well, but cannot swear to it.

Queen: Bohemian Rhapsody

If any song could wear the label of being rock operatic, it would be this classic by Freddie Mercury and Queen. In fact it was from the album “Night at the Opera,” which is fitting on so many levels. This tune was a number one record in 1975 in the UK, Australia, Ireland, and The Netherlands; however, it only charted only at 9 in the US. The single was certified platinum in the UK and gold in the US. Frankly, I will admit that I hated this song the first time I heard it, but it really grows on you. The musicianship is superb and Freddie Mercury’s vocals are as always fantastic.

Paul and Linda McCartney: Uncle Albert/Admiral Halsey

Described as a collection of song snippets that were combined together, this piece (for lack of a better term) is titled after Paul’s uncle (Albert of course) and American World War II Admiral: “Bull” Halsey. I remember the first time I heard this song. I had stayed with my brother and sister-in-law in Lexington, KY for two weeks during the summer of 1971. At the end of my visit, the three of us piled into their Chevy Vega for the long trek back to Pennsylvania. The back seat was crowded with PA speaker cabinets and assorted musical equipment and a cat and dog.

As we were heading out of town on I-75, this song came on the radio and I heard if for the first time. I remember asking if it was a new Beatles’ tune, but was informed that it was Paul and Linda McCartney’s latest single from their new album, “Ram.” The song quickly charted at number one. The trip was also memorable because the cat decided to relieve himself on my leg somewhere between Cincinnati and Columbus, Ohio. It was a memorable trip to say the least and the summer heat, well, you know only made a bad experience worse. A stop at a rest area to clean up and change clothes helped somewhat, but not entirely - as the trip lasted for another 3 or 4 hours.

Led Zeppelin: Stairway to Heaven

I first heard this song on WDVE during my senior year in high school. I thought it was just absolutely beautiful and still do nearly forty years later. I never had a chance to see Zeppelin in concert, but I did see Robert Plant in 1985 and he did a wonderful version of this song in concert – although his voice had gotten lower by then.

 Recorders: bass, tenor, alto, soprano, & sopranino

The woodwinds, which John Paul Jones played in concert on a Mellotron, were actually overdubbed recorders (a fipple flute) that Jones also played. While the full version was released on a single in the US to radio only, it never was commercially available as such. In 1987, Mark Nathan at Atlantic Records sent me a mint copy of the promo single (PR-269) – stereo on the blue labeled side and mono on the white labeled side. I will treasure this collectable forever.

Derek and the Dominoes: Layla

Probably the not the best example of a song with more than one movement, “Layla” was written about George Harrison’s wife Patti, who later left George in 1977 and married Eric Clapton in 1979. She was the inspiration for Clapton’s “Wonderful Tonight” as well. Featuring the twin guitars of Clapton and Duane Allman, the single was released twice in the US. To cater to radio, a 2:43 single was issued in 1971. This version containing only the first portion of the tune only charted at #51. The next year, ATCO re-released the song in its full 7:11 version on single and under the same number (#6809) as the previous version. The 1972 single peaked at #10. I have both single versions in my collection, but have no clue if the shorter version is worth anymore than the later, full reissue of the tune.

Jay Ungar & Molly Mason: Ashokan Farewell

Since it is Traditional/Roots Tuesday, here's a nice instrumental written in the style of a Scottish lament. Performed by husband and wife Jay Ungar and Molly Mason, many of you may remember “Ashokan Farewell” as the recurring theme to Ken Burns' first PBS special – “The Civil War.” This is kind of fitting the day following Memorial Day.

Civil War Captain Charles William Owston of the Pittsburgh Rifles

Company A, 9th Pennsylvania Reserve Volunteer Corps

This rendition is beautifully done by the tune's composer and his accompanist. I like to use this waltz to warm up on the mandolin as it is not only beautiful, there is an interesting addition of a C chord during the song's bridge that makes this tune written in D even more fun to play.

Jay Ungar talks about writing the song

While often wrongly credited as a traditional air, this song was actually written in the late 1980s.

Martin Gross’ Dobro® Instrumental