The Tubes: Talk To You Later

Before they became a household name (sort of), The Tubes had already released five studio albums and a compilation of their better known (sort of) material. The Tubes had a loyal cult-like following that began with their release of their self-titled debut LP and theatrical performances of the single “White Punks on Dope.” While their albums generally sold well without a supporting hit single, the masses were oblivious to their talents.

That was until 1981 when the rest of the world outside of their existing fan base began to notice this band. Part of this was due to their video for “Talk to You Later” and the other part was consistent promotion by Capitol Records to Album Oriented Rock stations.

The Video

You’ll have to turn up the volume on this as for some reason EMI Music didn’t have the levels quite right. It is also mono as well.

The Single Mix

While AOR radio embraced “Talk to you Later,” and it peaked at #7 on Billboard’s Mainstream Rock Tracks chart, it failed to make the Top 100 charts being a true bubbling under hit with its highest position at #101.

The album, “The Completion Backwards Principle,” peaked on Billboard’s Top 200 Albums chart at #36 – making it their second highest charting LP. This album was eclipsed by their next release “Outside Inside” which topped the charts at #18.

The Album Mix with Spoken Intro

“Talk to you Later” was “The Completion Backwards Principle’s” lead track and featured a rather unusual spoken word intro: “As I mentioned near the close of the last record, this record you are now playing is another example of The Completion Backward Principle; if you can possibly manage the time, please play both sides at one meeting.”

Despite this rather unprecedented narration (which did not detract from the music at all), “The Completion Backwards Principle” was one of my favorite albums of 1981 and it eventually produced a mid-charting hit at #35 with the ballad “Don’t Want to Talk Anymore.” I can’t think of a bad cut on this album and would carte blanch recommend it to anyone who wants to delve into a nostalgic trip to the early 80s. It is considered by many a concept album as it was loosely based on corporate training manuals.

“Talk to you Later” was co-written by the band, producer David Foster, and Toto lead guitarist Steve Lukather. In addition to the song being performed still today by The Tubes, Lukather also makes it a part of his live song set.

The Pretenders: Brass In Pocket (I'm Special)

Usually, I have my week pretty well planned out in advance for what I plan to feature; however, periodically yesterday I would wrack my brain about what I was going to do for TV Thursday this week. Well, last night I saw the new commercial for the Blackberry Playbook and low and behold Chrissie Hynde and The Pretenders’ “Brass in Pocket (I’m Special)” was the background music.

The single was released in 1979 and climbed to the #14 spot on the Hot 100 chart in early 1980. The single did better elsewhere as it was #1 in the UK and Sweden, #2 in Australia and New Zealand, and #5 in Canada. The album, “Pretenders,” did better in the US charting at #9 and selling in excess of a million copies to be certified as platinum. It was certified gold in the UK for sales in excess of 100 thousand and the Netherlands for over 30 thousand copies sold.

One of the things that has changed linguistically since 1979 is the connotation of the word "special." The word used to mean something extraordinary; however, it carries a meaning that indicates someone needs a little help in life. When I want to get my oldest daughter's goat, I tell her she's special. To which she thanks me, and then says "hey, wait a minute - special how?"

Stereo Version

Music Video in Mono

The video was one of the first 10 music videos played on MTV when the channel debuted in 1981.

Blackberry Playbook Commercial

The Firm: Radioactive

I can hear it already, there will be those muttering under their breath – “Is he crazy? The Firm had more than one hit besides their song 'Radioactive.'” True they had some airplay on two other songs, but our definition of a One Hit Wonder is that it was the only song by an artist to chart in the Top 40 of Billboard’s Hot 100 chart. Within those parameters, “Radioactive” was their only song with distinction having peaked at #28.

As for the other two songs, “Satisfaction Guaranteed” charted at #73 and “All the King’s Horses” did a little better at #61. Additionally, “Radioactive” attained the number one position on Billboard’s Top Rock Tracks chart. While “Radioactive” was their best known song in the US, it was not the case elsewhere. This 1985 American hit charted at 75 and 76 in Canada and the UK respectively. The album, “The Firm,” hit #17 on the LP charts and was certified gold in the US and Canada.

“Radioactive” and their self-titled debut LP was the world’s introduction to 1985’s new supergroup that featured Paul Rodgers (formerly of Free and Bad Company) on lead vocals and Led Zeppelin lead guitarist Jimmy Page. Rounding out the quartet was studio musician Tony Franklin on bass (fretless much of the time) and keyboards. Chris Slade, formerly of Uriah Heep and Manfred Mann’s Earth Band, handled the drums.

While the video shows Jimmy Page playing the lead on his cherry red Gibson 12/6 string double neck SG model guitar, he did not play the highly unusual lead guitar run on this recording. Vocalist Paul Rodgers played the lead that has been both praised and panned by critics everywhere. I like it as it is unusual. I tried figuring it out, but had difficulty in doing so and am amazed that no one has a tablature available for this solo or a YouTube video showing you how to play it.

The song is in Am and I tried a number of things including diminished arpeggios but could not replicate Rodgers’ genius on this track. I will have to say that it is what first attracted me to the song and I used to sing it in the mid 80s when I played keyboards with a local band named “Street Heat.” Not everyone has the same appreciation of this strange lead. Guitar World ranked it at 77 of their “Top 100 Worst Guitar Solos” list. Everyone is a critic these days.

Seth Lakeman: Hearts & Minds

For today’s Traditional Tuesday selection, how about a little folk music with attitude? Multi-instrumentalist Seth Lakeman released his latest LP “Hearts & Minds” last summer. The album debuted at #17 on the UK LP charts. This was Seth’s highest chart position for the LP, which shows that his dedicated followers bought their copy as soon as it was available.

It is an excellent LP and I recommend it to anyone with a penchant for folk and fiddle music with an edge. Today’s feature is the LP’s title cut “Hearts & Minds.”

Live Version

David Bowie & David Gilmour: Arnold Layne

I got thinking about early Pink Floyd this weekend because I stumbled upon a comedic video on YouTube that satirized the late Syd Barrett – the originator and genius behind the band. Due to increasing mental problems which were exasperated by the use of hallucinogens, Barrett’s actions became radically unpredictable. He would participate in weird behavior during concerts and at times not even show up for the show.

While not officially fired by the band, they elected to not pick him up for a gig and he was phased out of Pink Floyd being replaced by his friend David Gilmour. Previously, Gilmour had substituted for the missing Barrett on a number of occasions and finally became the band’s official fifth member prior to Barrett's departure. Pink Floyd was in the midst of recording their second LP, “A Saucerful of Secrets” and a handful of singles when Barrett was relieved of his responsibilities with the band.

Although recorded in the same sessions that produced their debut LP, “Piper at the Gates of Dawn,” “Arnold Layne” did not show on a Pink Floyd album until the release of the compilation “Relics” in 1971. As the band’s initial single, it failed to chart in the US, but gained some momentum in the UK and The Netherlands where it charted at #20 and #30 respectively.

In 2006, David Gilmour began reprising “Arnold Layne” during his tour that year. Two live recordings of the song were captured from the Royal Albert Hall performances. One featured Gilmour on vocals and was released as a single. Gilmour’s version did slightly better than the original as it charted at #19 in the UK.

A second version featured David Bowie on vocals and is our Monday Cover tune today. Bowie previously covered Pink Floyd’s second single, “See Emily Play” in 1973 for the album “Pin Ups.” This LP featured Bowie recording covers of music by The Pretty Things, Them, The Who, The Kinks, The Yardbirds, The Easybeats, The McCoys, and Pink Floyd.

While Bowie did a good job on “See Emily Play,” I like his rendition of “Arnold Layne” much better. David Gilmour joins on harmony vocals. If the keyboard parts sound strangely familiar, it is the late Richard Wright who as a member of Pink Floyd played on the single.

The Original by Pink Floyd

Don Francisco: He's Alive

Happy Easter everyone! To celebrate the most important holiday in Christendom, I thought I would feature a song about the resurrection. In 1977, Don Francisco recorded his landmark LP “Forgiven” that featured his most popular song: “He’s Alive.” The album and single were released on NewPax Records, a label owned by record producer Gary Paxton.

When Contemporary Christian Music Magazine (now CCM Magazine) published its first issue in July 1978, the song “He’s Alive” debuted at the #1 slot and became the longest charting single on Christian radio. In 1980, Francisco won a Dove Award from the Gospel Music Association for “Songwriter of the Year” and “He’s Alive” garnered 1980’s Dove Award for “Song of the Year.”

Francisco had intended to write the song from the Apostle Thomas’ perspective but could not accomplish his goal. He later switched to a view from the Apostle Peter and the rest is history. Francisco’s consummate style is that of a story-teller much like the songs of secular musicians Harry Chapin and Billy Joel. Because of this style, the song made a powerful connection among those who heard it.

Original Recording

Re-recorded Version

All weekend, I’ve been making ridiculous puns. So I feel obligated to add one here. If we would only speak of today’s artist by his first name, would we be referring to him as Don sans Francisco? Use this season of Easter to forgive me for that one. Happy Easter.

Mott The Hoople: All The Way To Memphis

As always on Saturday we feature a bubbling under hit and today we take you back to the fall of 1973 and the opening cut from Mott the Hoople’s sixth album “Mott.” Although released as a single, “All the Way to Memphis” failed to chart in the US – which was highly unusual at the time as the song was well known to their fans. Album radio played it to death and I remember seeing the band perform this tune live on television a number of times – always to the cheers of an approving audience.

While this glam rock outfit fronted by the curly headed Ian Hunter (who is now 72) never transitioned to top forty radio in the US. The closest they came was in the summer of ’72 when “All the Young Dudes” made it to a dismal 37. American mainstream radio was not that accepting of Mott the Hoople – they just weren’t a singles kind of band; however, the album charted at 35 on the Top 200 LPs charts. It was not their highest charting LP, but it started a trend that saw their final two albums, “The Hoople” and “Live,” chart even higher.

“Mott” was their second LP released in the US on the Columbia label; the first four albums by the band were on Atlantic. I can remember sitting in the lobby of Jones Hall – my dorm at the time seeing Ian Hunter, Mick Ralphs, Pete “Overend” Watts, and Dale Griffen doing this and other legendary “Hoople” tunes. While the song is a constant reminder of this period, the picture that comes to my mind is Ian Hunter playing his H-shaped guitar. To see it, check out the following site: http://www.hunter-mott.com/gallery/mth/images/hunter1.html.