While several artists recorded “(Ghost) Riders in the Sky” in the year following the penning of the song by Stan Jones in 1948, Vaughan Monroe and the Moon Men’s rendition was the #1 record.
Monroe's release beat out Burl Ives’ version that hit the chart first, Bing Crosby’s top 20 cover, and Peggy Lee’s recording that was favorite by disc jockey’s – but it lack the sales for it to perform well on the primary popular music chart. Since that time numerous artists recorded “Ghost Riders” – notably the Ramrods version 1961 version was the first rock ‘n roll release of the tune.
Fast forward 31 years later to 1980 when the Outlaws released their rocking version and title cut to their “Ghost Riders” LP. The single peaked at 31 on the Hot 100 and was a favorite on AOR radio. What a great jam and it fulfils our final Halloween themed tune. Happy Halloween – watch out for the “Ghost Riders in the Sky” – it is “A Cowboy Legend” – “Yip – e – I – ay, yip – e – I – o”
Monday, October 31, 2011
Saturday, October 29, 2011
Richard Thompson: Season Of The Witch
For Saturday’s bubbling under hit, there are just so many versions of the Donovan song “Season of the Witch,” I had a hard time choosing which one – Bloofield, Kooper, and Stills? – like the guitar – but the horns, hmmm. Vanila Fudge – my first exposure to the tune – a little too psychedelic for a snowy Saturday before Halloween. Julie Driscoll and Brian Augur – too jazz influenced. Plus, I’ve already featured Donovan’s original version in the past.
What a dilemma, until I remembered that years ago I heard Richard Thompson’s version on the TV show “Crossing Jordan.” Thompson is one my favorite artists, so that decision was easy. His rendition appears on the “Crossing Jordan” soundtrack. It has an edge to help me prepare to drive over an hour this morning to a conference where I am participating as a presenter.
Thompson is at his best on this song – which was made for jamming – which is why every version that has been released has been in excess to a typical song’s release times. Even Donovan’s, which was recording in 1966, ran close to five minutes. Vanilla Fudge’s version was in the 9 minute range. Mike Bloomfield, Al Kooper, and Stephen Stills cover went close to 10 minutes in length. Even Julie Driscoll and Brian Auger passed 7 ½ minutes. Richard’s version comes in a 9:19.
What a dilemma, until I remembered that years ago I heard Richard Thompson’s version on the TV show “Crossing Jordan.” Thompson is one my favorite artists, so that decision was easy. His rendition appears on the “Crossing Jordan” soundtrack. It has an edge to help me prepare to drive over an hour this morning to a conference where I am participating as a presenter.
Thompson is at his best on this song – which was made for jamming – which is why every version that has been released has been in excess to a typical song’s release times. Even Donovan’s, which was recording in 1966, ran close to five minutes. Vanilla Fudge’s version was in the 9 minute range. Mike Bloomfield, Al Kooper, and Stephen Stills cover went close to 10 minutes in length. Even Julie Driscoll and Brian Auger passed 7 ½ minutes. Richard’s version comes in a 9:19.
Friday, October 28, 2011
Bobby (Boris) Pickett And The Crypt-Kickers
It’s the better late than never post for today, as I finally get my Friday Flipside post up and in order. Today’s flip is by Bobby “Boris” Pickett and The Crypt-Kickers and was the “B” side to his number one, million seller “Monster Mash.”
While Pickett tried to get the “A” side released on numerous labels, it was passed by them all until Gary S. Paxton took a chance and recorded, produced, and released the single on his GARPAX records. It charted right before Halloween 1962.
Paxton hired a number of session musicians including Leon Russell to play on the “Monster Mash,” which was a parody of the numerous dance related records (“The Twist,” “Peppermint Twist,” “The Mashed Potato,” and others).
While Pickett, who did the voices impressions, co-wrote the “A” side with Leonard Capizzi, he and Paxton co-wrote the “B” side – “Monsters’ Mash Party.” It is basically an instrumental with Pickett doing the monster voices. It’s the perfect example of coming up with a flip side at the last moment. “Wail, Frankie, wail.”
While Pickett tried to get the “A” side released on numerous labels, it was passed by them all until Gary S. Paxton took a chance and recorded, produced, and released the single on his GARPAX records. It charted right before Halloween 1962.
Paxton hired a number of session musicians including Leon Russell to play on the “Monster Mash,” which was a parody of the numerous dance related records (“The Twist,” “Peppermint Twist,” “The Mashed Potato,” and others).
While Pickett, who did the voices impressions, co-wrote the “A” side with Leonard Capizzi, he and Paxton co-wrote the “B” side – “Monsters’ Mash Party.” It is basically an instrumental with Pickett doing the monster voices. It’s the perfect example of coming up with a flip side at the last moment. “Wail, Frankie, wail.”
Thursday, October 27, 2011
Edgar Winter Group: Frankenstein
Being that it is TV Thursday and we are featuring Halloween themed songs this week, here is another song featured in a TV commercial, the Edgar Winter Groups’ “Frankenstein” as featured in the AT&T Radio Contest Winner ad. It seems that I know this woman from past experiences. Although I haven’t been on the air since 1994, I can still remember the names of the constant contest winners that seemed to bend the rules as much as possible when it came to contests.
Although the song is only at the very end of the commercial, it is clear that it is “Frankenstein” – a song that Edgar Winter began performing as a member of his brother’s band, Johnny Winter And. Although Frankenstein was not released officially until late 1972 with the Edgar Winter Group’s groundbreaking LP, “They Only Come Out at Night.” The original title of the cut during the Johnny Winter years was “Double Drum Solo.”
Edgar Winter drummer Chuck Ruff christened the tune as “Frankenstein” as the final product was created by numerous tape splices to get the song down to its current length. Edgar Winter plays clavinet, synthesizer, timbales, and saxophones on this tune.
The song was a number one American hit in the early summer of 1973 and reminds me of my summer after high school graduation and my first car, a 1964 Ford Fairlane 500. There were three Pittsburgh Top-40 AM stations (KQV, WIXZ, and 13Q – WKTQ) vying for listeners that summer and each seemed to play only three songs: “Frankenstein,” “Hocus Pocus” by Focus, and Deep Purple’s “Smoke on the Water.” My favorite part of the song is where the synth goes from the right speaker to the left – it’s great in headphones.
Although the song is only at the very end of the commercial, it is clear that it is “Frankenstein” – a song that Edgar Winter began performing as a member of his brother’s band, Johnny Winter And. Although Frankenstein was not released officially until late 1972 with the Edgar Winter Group’s groundbreaking LP, “They Only Come Out at Night.” The original title of the cut during the Johnny Winter years was “Double Drum Solo.”
Edgar Winter drummer Chuck Ruff christened the tune as “Frankenstein” as the final product was created by numerous tape splices to get the song down to its current length. Edgar Winter plays clavinet, synthesizer, timbales, and saxophones on this tune.
The song was a number one American hit in the early summer of 1973 and reminds me of my summer after high school graduation and my first car, a 1964 Ford Fairlane 500. There were three Pittsburgh Top-40 AM stations (KQV, WIXZ, and 13Q – WKTQ) vying for listeners that summer and each seemed to play only three songs: “Frankenstein,” “Hocus Pocus” by Focus, and Deep Purple’s “Smoke on the Water.” My favorite part of the song is where the synth goes from the right speaker to the left – it’s great in headphones.
The AT&T Commercial
Wednesday, October 26, 2011
John Zacherle: Dinner With Drac
Well it appears that I have taken an extended vacation and I apologize for that. My real job has kept me hopping and last week I was out of town for several days. So accept my apology for my extended absence, I hope I can get back into the swing of things.
Being that it’s a Wednesday and the week prior to Halloween, it’s time for a Halloween themed one hit wonder. John Zacherle, otherwise known as “The Cool Ghoul,” released his one hit wonder, “Dinner with Drac” during the spring of 1958. It’s not one you hear very often today and it was unusual that it peaked the charts at #6 in March rather than in October.
Zacherle (sometimes spelled Zacherley) had his start as a television broadcaster in Philadelphia and later served as the host of New York’s “Chiller Theatre” (not to be confused with Pittsburgh’s show of the same name), where he interspersed late night horror movies with bits and gags based on his alter ego, Roland the undertaker. “. . . and the veins of a mummy named Betty. I first frowned upon it but put ketchup on it and it tasted very much like spaghetti.”
Being that it’s a Wednesday and the week prior to Halloween, it’s time for a Halloween themed one hit wonder. John Zacherle, otherwise known as “The Cool Ghoul,” released his one hit wonder, “Dinner with Drac” during the spring of 1958. It’s not one you hear very often today and it was unusual that it peaked the charts at #6 in March rather than in October.
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| Zacherle as Roland |
Zacherle (sometimes spelled Zacherley) had his start as a television broadcaster in Philadelphia and later served as the host of New York’s “Chiller Theatre” (not to be confused with Pittsburgh’s show of the same name), where he interspersed late night horror movies with bits and gags based on his alter ego, Roland the undertaker. “. . . and the veins of a mummy named Betty. I first frowned upon it but put ketchup on it and it tasted very much like spaghetti.”
Thursday, October 13, 2011
Bill Champlin: In The Heat Of The Night
Bill Champlin of San Francisco has been singing for decades with the band the Sons of Champlin and later as Terry Kath’s replacement in Chicago. He is a talented multi-instrumentalist and song writer. In fact, two tunes that he coauthored received Grammy Awards.
The first of these, “After the Love has Gone,” as recorded by Earth, Wind, and Fire won a Grammy for the Best Rhythm and Blues Song in 1979 for Champlin, Jay Graydon, and David Foster. George Benson recorded “Turn Your Love Around,” which netted the Best Rhythm and Blues Song in 1982 for Champlin, Jay Graydon, and Steve Lukather.
Audiences further had the opportunity to hear Champlin’s work as he recorded the theme for the popular TV show “In the Heat of the Night.” Airing from 1986 to 1995, the show stared Carroll O’Conner and Howard Rollins who reprised the roles created by Rod Steiger and Sidney Poitier in the 1967 motion picture of the same name. Great movie, good TV show, and an excellent performance by Bill Champlin – who, by the way, is my seventh cousin – my great-grandmother was a Champlin.
The first of these, “After the Love has Gone,” as recorded by Earth, Wind, and Fire won a Grammy for the Best Rhythm and Blues Song in 1979 for Champlin, Jay Graydon, and David Foster. George Benson recorded “Turn Your Love Around,” which netted the Best Rhythm and Blues Song in 1982 for Champlin, Jay Graydon, and Steve Lukather.
Audiences further had the opportunity to hear Champlin’s work as he recorded the theme for the popular TV show “In the Heat of the Night.” Airing from 1986 to 1995, the show stared Carroll O’Conner and Howard Rollins who reprised the roles created by Rod Steiger and Sidney Poitier in the 1967 motion picture of the same name. Great movie, good TV show, and an excellent performance by Bill Champlin – who, by the way, is my seventh cousin – my great-grandmother was a Champlin.
Tuesday, October 11, 2011
Bert Jansch: Black Waterside
Last Wednesday, the world lost one of the great acoustic guitarists to cancer at age 67. I first heard of Bert Jansch from the recordings he made with Pentangle in the 1960s. He and his guitar partner John Renbourn were the Lennon/McCartney of English folk music and when the two played together, both with or without Pentangle, it was wonderful.
The man, of whom the general public was not aware, became the favorite of music aficionados and artists everywhere. Rolling Stone placed Jansch at 94 on their list of the top 100 guitarists. He won two BBC Lifetime Achievement Awards – one for his solo work in 2001 and one for his role in Pentangle. In 2007, Edinburgh Napier University awarded Jansch an honorary doctorate based on his contributions to the UK music industry.
Bert Jansch will be greatly missed. To honor him, here’s his rendition of “Black Waterside.”
The man, of whom the general public was not aware, became the favorite of music aficionados and artists everywhere. Rolling Stone placed Jansch at 94 on their list of the top 100 guitarists. He won two BBC Lifetime Achievement Awards – one for his solo work in 2001 and one for his role in Pentangle. In 2007, Edinburgh Napier University awarded Jansch an honorary doctorate based on his contributions to the UK music industry.
Bert Jansch will be greatly missed. To honor him, here’s his rendition of “Black Waterside.”
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