Eva Cassidy: Wade In The Water

Eva Cassidy was one of those talents who was rarely known outside of her region until her untimely death in 1996. She had recorded three albums; however, she died of complications of melanoma at the age of 33 before her third album “Eva by Heart” was released. The pothumous recording was her only studio release and features her rendition of the classic spiritual “Wade in the Water.”

In 1998, a compilation of her recordings under the title of “Songbird” was released. The album caught the attention of Terry Wogan of BBC-2 in 2000 and his playing and promotion of the LP rocketed to the number one slot on the British album charts. It was also certified six times platinum in the UK. While her recordings have not attracted audience stateside as in the UK, “Songbird” sold 500,000 copies to become certified gold in the US. “Wade in the Water” is also on that particular LP.

It is unfortunate that her life was taken so shortly from us; however, we are fortunate to at least have her recordings to remember her by.

Alice Cooper: Under My Wheels

Well, I don’t believe I’ve ever featured “the Coop” on Reading Between the Grooves, so a bubbling under hit by one of the musical descendants of Screaming Jay Hawkins is apropos at this point. Alice Cooper made his/their foray into fame by being the band in the motion picture “Diary of a Mad Housewife.” While “the Coop” and company had already realized two LPs for Frank Zappa’s Straight Records at this time, it was a year before Warner Brothers picked up their first popular LP “Love it To Death.”

“Under my Wheels” was one of the two singles from the band’s fourth LP “Killer,” which was released in 1971. Neither song made the Top 40, so both would qualify as bubbling under hits. “Under my Wheels” peaked at #59 on the US charts. The song was written by band members Michael Bruce (guitar and Keyboards) and Dennis Dunaway (bass) and producer Bob Ezrin who played keyboards on this LP. Extra lead guitar on this cut was provided by Rick Derringer no less.

Santana: Taboo

I am about twelve hours late on my post for today. Last evening while researching this song, I opened a web page that proceeded to load malware on my computer – it was a multi-faceted attack that disabled McAfee (which never caught it), disabled Google Chrome, attempted to rewrite my boot-sector (which Adaware stopped), changed my permissions, began to write numerous files to fill up the hard-drive, and locked out my wireless connection.

So, on my lunch hour, I am putting forth my selection for today. I don’t dare miss one, as if I have my math correct, I will celebrate my second anniversary of “Reading Between the Grooves” at the same time as my 700th post. That’s kind of exciting; so in the midst of “downtime,” I am attempting to keep on keeping on.

Today’s Friday Flipside is Santana’s third LP with is called either “Santana” or “Santana III.” It was the B side to “No One to Depend On,” which charted at #36 in 1971. I remember purchasing this single as I loved the A side, but “Taboo” is an excellent tune as well that features the vocals and keyboards of Greg Rollie.

Watch out for those taboo web sites folks. Enjoy.

The Allman Brothers: Melissa

Our TV Thursday feature is the musical bed for the Cingular/AT&T Wireless commercial: The Allman Brothers’ “Melissa.” The song was originally recorded by 31st of February for their second album after Duane and Gregg Allman had joined the band. The song was co-written by Gregg Allman and Steve Alaimo, the session’s producer.

The song was inspired by a mother calling her little girl who got away from her in a grocery store. Although recorded in 1968, the original was not released until 1972 when it appeared on an album called Duane and Gregg Allman.

 
The version with which most are familiar is found on the classic “Eat a Peach” album by the Allman Brothers. This version was recorded by Allman Brothers following Duane Allman’s death. Dicky Betts provides the lead guitar.

31st of February Version

Mike Nesmith & The First National Band: Joanne

The first person to leave The Monkees, that contrived TV musical concoction, was Michael Nesmith. When he exited three years prior to the expiration of his contract, Mike was required to pay a whopping $450K in restitution. His first project after The Monkees was with the First National Band and the album “Magnetic South.”

While not Nesmith’s first solo performance, as he had numerous singles before the Monkees and his “Wichita Train Whistle Sings” project, it was his only solo recording that charted within the Top 40 of Billboard’s Hot 100. The First National Band consisted of the following musicians: Red Rhodes on pedal steel guitar, John Ware on drums, and John London on bass.

This 1970 release of Joanne charted at #21 and the album placed at #143 on the album charts. I have this LP which was pressed on RCA’s Dynaflex vinyl – the thin process that used less material in production as a cost cutting move. You can nearly fold a record before it snaps . . . yes, Virginia, it becomes Dynabreak. Some audiophiles think that there is a poor frequency response on some of the Dynaflex releases.

My copy was used, but its tonality was a little thinner than what I expected. When I carted my copy up to play as an oldie on WCIR, I remember having to add some bass to the recording. It’s an early example of country-rock and showcases the vocal abilities of Nesmith. There is something in the mix that doesn’t sit well with me – I think it may be tremolo used on the bass.  Whatever it is, it's muddying up the sound. Be that as it may, it is a great cut.

Although Mike had many hits with The Monkees, this was his only solo hit - making it his one hit wonder.

Ralph McTell: Old Brown Dog

I suppose that this song is a moral story about how people and dogs are much the same – sometimes we appear to have outlived our usefulness; however, we somehow have one last hurrah even in the face of adversaries. Although Ralph McTell sings of an “Old Brown Dog” who is slated to be euthanized, the dog returns to youthful activities and he dies a natural death as his heart ceased its function.

It’s a sad song, but it has a positive ending that the dog went in his own time on his own terms. Something , I hope I get to do and not someone else making that decision for me. The song comes from McTell’s 1971 LP “You Well Meaning Brought Me Here.” I first heard this from a guy who lived in my college dorm. He worked at the local radio station (WGOH) and he procured it as they were ditching some albums.

I got my copy in a similar fashion as WMUL at Marshall University was doing some spring cleaning in 1979. “You Well Meaning Brought Me Here” was headed for the trash heap and I rescued this classic folk-rock LP from a true legend – Ralph McTell.

The song feature the piano of Rick Wakeman and a trio of musicians who would later join Elton John’s band: Davey Johnstone, Caleb Quaye, and Roger Pope. Johnstone plays the very tasteful mandolin parts. The guitar solo that takes the tune out was provided by Caleb Quaye. Its unique tone is courtesy of a Leslie rotating speaker cabinet. Pope, as he would with Elton, handled the back beat.

Lyrics

That old brown dog sleeps in the rain,
Unless the sun has shone.
That old brown dog is all alone,
Since Old Bill been gone.
And sleeping in the rain
Only gives a dog a bad name.
If Bill were alive
Well I know he would decide
To have the same thing done.
-
That old brown dog he smells so bad,
Say the people from the town.
That old brown dog is almost lame,
Someone should put him down.
It would be an act of kindness,
You know it's for the best.
You bring a rope, bring a gun,
And it'll all be over
Before the dog can guess.
-
Could an old brown dog have become wise
Guessed they were all after him.
His hearing was failing, and his eyes
Were fast growing dim.
On the day they came to kill him
He sensed a rabbit on a log.
Did anybody see a rabbit
Chased across the meadows
By an old brown dog.
-
That old brown dog, tail wagging,
As he laid himself down.
It did not seem to matter,
That the rabbit had long gone to ground.
And there in the summer heat,
His old heart ceased to beat.
And high above the meadow
The skylarks singing
As the spark went out.

Justin Hayward & John Lodge: Blue Guitar

My two favorite members of the Moody Blues, Justin Hayward and John Lodge, released their collaboration “Blue Jays”; however, the second single, “Blue Guitar,” did not originally appear on the LP. It was, however, included on the 1987 CD reissue. Even though “Blue Guitar” was credited to both Hayward and Lodge, John Lodge did not appear on the original single release; however, his bass guitar was added to the 1987 CD issue.

The personnel on “Blue Guitar” single was actually Justin Hayward and 10cc. Hayward sang lead vocals and played lead guitar. The 10cc lineup included Lol Creme using a Gizmotron on his guitar, Graham Gouldman on bass, Eric Stewart on guitar, and Kevin Godley on drums. All four 10cc members contributed back-up vocals.

The “Blue Jays” LP did quite well charting at #4 on the UK LP charts and #16 on Billboard’s Top 200 Albums. “Blue Guitar” performed better in the UK making the top 10 at #8; however, the US release barely scratched the surface by charting at only 94.

On the picture sleeve, the artwork depicted an artist’s rendition of Hayward’s red Gibson ES-335 done up in blue. At the time, Gibson did not have blue as a production color for this particular model. Upon seeing the picture sleeve, a Gibson exec ordered that a custom ES-335 be made up in blue and it was later presented to Justin Hayward.

Beale Street Blue & Pelham Blue ES-335 Models

Since then, Gibson has offered this guitar model in three hues of the color: Pelham blue, translucent blue, and Beale Street blue.