The Zombies: This Will Be Our Year

Recorded in 1967, “Odessey and Oracle” was released in 1968 months after The Zombies had disbanded. The tracks were recorded on four-track Studer tape machine at Abbey Road Studios and then mixed to mono; however, the band was informed by CBS that they needed a stereo mix. Keyboardist Rod Argent and guitarist Paul Atkinson pooled their financial resources and remixed the original four-tracks into a stereo mix. This new mix was finished 48 years ago today – January 1, 1968.

By this time, The Zombies were buried – and would later reanimate in the 1990s. Lead vocalist Colin Blunstone went onto a solo career: first billed as Neil McArthur and then later under his own name. Rod Argent and Paul Atkinson formed the band “Argent.” Bassist Chris White, the only non original member of The Zombies, perfected his craft as a songwriter and producer for both Blunstone and Argent. Drummer Hugh Grundy transitioned to being record label A&R man.

The album was released on Date Records (a subsidiary label of CBS) in the US in June 1968; however, it’s first single from the forthcoming LP was released in late 1967 on Columbia. All in all, seven US singles were issued from the album. Only one charted, and that was second release of “Time of the Season” – the fifth of the seven US singles. “Time of the Season” was their highest charting single in Canada and their second highest charting single in the US – peaking at #3. “She’s Not There” from 1964 was their only US #1. None of the singles charted in the UK.

The second single, “This will be our Year,” was only issued as a radio station promo and like most of the others, it failed to generate any interest from radio or otherwise. It is a fitting song for us as it is New Year’s Day. The year 1968 was not The Zombies year as they had called it quits in December 1967 and none of their releases charted. The re-release of “Time of the Season” made 1969 a much better year for this former cohort of musicians.

“This will be our Year” is a great tune that has been covered by a number of artists including the Foo Fighters. I really like the double tracking of Colin Blunstone’s vocals on this cut. It is very Beatlesque and for good reason – they used the same tape deck that Sgt. Pepper’s Lonely Hearts Club Band was recorded.

Re-channeled Original Mono Mix

The mono mix of the song has horns that were not overdubbed onto the four track machine but directly to the mono mix by producer Ken Jones. This song was re-channeled for stereo as is – horns and all. The All Music Guide compares it to “Penny Lane.”

Alternate True Stereo Version

There is an alternate true stereo mix without the horns. It’s too bad the horns were not put on the four-track machine as this mix with the horns would have been a killer release.

Outside of “Time of the Season,” “Odessey and Oracle” was not a commercial success. It was, however, considered a critical masterpiece. As your New Year’s gift, we have provided both versions of “This will be our Year.” I hope it will be yours as well.

The Derek Lawrence Statement: I Am The Preacher

While I’ll admit my posts have been sparse during the past six months, but for a number of reasons I’ve had two posts on one day – yesterday and I will have a second one later today. Since today is Pastor Appreciation Day, I thought I might sneak in a song that is fitting for the moment: “I am the Preacher” by the The Derek Lawrence Statement.

As far as I know, this was the first recorded version of the song and it was released two months later by Deep Purple as their fifth American single. Their version of the song was titled “Hallelujah (I am the Preacher). It was written by Roger Greenaway and Roger Cook – two professional songwriters who penned a number of hits during the late ‘60s and early ‘70s.

In 1969, Greenaway sent a demo to Derek Lawrence – the producer of the first three Deep Purple albums. Lawrence didn’t think the band would be interested in the song, but he sent it to Ritchie Blackmore anyway. At this time, Deep Purple was seeking another lead singer, another bassist, and unbeknown to Lawrence, another producer.

While Purple’s version failed to chart in the UK, it did poorly in the US by peaking at #108. While Rod Evans was out of the band having been replaced by Ian Gillian, Nick Simper apparently played on this single as Roger Glover had not yet joined the band. Although Derek Lawrence supplied Deep Purple with the demo, they did not utilize his services as producer.

Tony Edwards and John Colleta, managers of the band, are listed as the producers. To my knowledge, it’s the only cut where Edwards and Colleta were cited in this capacity. They are listed on the UK single on Harvest Records, but not on the US version on Tetragrammaton Records. Subsequent recordings have listed the band as producers. You can check out Deep Purple’s version with a number of their other early recordings on this 2010 post of “Deep Purple before Smoke on the Water.”

Although Deep Purple just barely charted with the song, they did not have the first recording of “Hallelujah (I am the Preacher)” – Derek Lawrence used his bevy of studio musicians and vocalists to produce his outstanding single under the name of The Derek Lawrence Statement. Along with its flipside, I believe that this was the only release by The Derek Lawrence Statement; however, the group in various forms recorded under about a half a dozen different names for Lawrence. “I Am the Preacher” was released in May 1969, which was two months before Deep Purple’s rendition.

The powerful vocals of The Derek Lawrence Statement are provided by Larry Steele, Liza Strike, and Tony Wilson. I believe each take a turn at the lead vocals. They are joined by Albert Lee on lead guitar, Harvey Hinsley on rhythm guitar, Chas Hodges on bass, and drummer Micky Burt.

The Derek Lawrence Statement still lives as it has been sampled for four hip-hop recordings. They include Qwel and Meaty Ogre’s “The Fourth Reich of the Rich” from 2006, Dilated Peoples’ “Hallelujah” from 2014, Fel Sweetenberg’s “Tomorrows in the Stars” from 2014, and Brock Berrigan’s “The Preacher” from earlier this year.

Happy Pastor Appreciation Day.

Stiff Records: My Old Man

Is it possible that I haven’t made a post in nearly three months? I guess so. My life had some changes beginning in April and the blog was the furthest from my mind at the time – so I took an extended vacation for several months. Several friends have commented directly to me regarding the absence of posts, so I decided today to get back to it.

The decision of today’s post and those for the remainder of the week was determined primarily due to the fact that this is Father’s Day. In addition, it is the first day in the fourth week of the month when I generally feature record labels. The challenge being is to find a song related to fathers that I haven’t already used. Second, the song needed to have been released on a label that I hadn’t featured as of yet. Third, the label had enough US releases in order for me to find seven releases in order to feature.

The task was to find an appropriate Father’s Day related song – and I selected Ian Dury and The Blockheads’ “My Old Man.” Although the song about Dury’s absent father isn’t the most positive of songs about dad, think of others that also came up in that list: Madonna’s “Papa Don’t Preach,” The Temptations “Papa was a Rolling Stone,” and Harry Chapin’s “Cat’s in the Cradle.” These were some of the selections that were also considered – and all had negative connotations. Dury’s record at least discussed their reconciliation and depicted his dad as a working stiff.

Speaking of stiff, Dury’s label was Stiff Records. I hadn’t featured this independent label out of the UK - so it rose to consideration. Founded in 1976 by Dave Robinson and Andrew Jakeman (professionally known as Jake Riviera), Stiff billed itself as “the world’s most flexible record label,” and it was.

While it was able to capitalize on signing new acts in the punk and new wave genres, it also signed several pop and dance artists as well – but these were not the label’s primary thrust. Stiff’s mantra was that it offered “today’s music – today.” Originally active from 1976-1986, Stiff rebooted in 2007 and have had several releases since that time.

The third criterion was difficult at best, as the fourth week label feature must be issued on the American version of the label. Had I opened it up to the Stiff’s British stable of artists, I would have had more than enough to spare. Stiff was not as successful in the US and their few charting singles testify of this.

Additionally, several of the better Stiff (UK) artists, such as Elvis Costello and Nick Lowe, had been signed to major labels in the US – and were disqualified for being featured this week; however, I have managed to find seven releases for this week. Most, however, were relatively innocuous in the scheme of American popular music.

I cannot verify this, but I believe that Ian Gomm’s “Hold On” was the only Stiff (actually Stiff-Epic) release to chart in Billboard’s Top 40. Unfortunately, I’ve already featured “Hold On,” so I have picked one of Gomm’s lesser known US singles for this week. In addition to releasing singles and albums on its own label that was both independently released as well as distributed by Arista in the US, several artists were co-signed to CBS and appeared on the Stiff-Epic and Stiff-Columbia labels. Since these were Stiff releases, they will be featured this week.

As for Ian Dury and The Blockheads’ “My Old Man,” it was an album cut in most of the world from Dury’s debut LP from 1977: “New Boots and Panties!!” Dury’s first single, “Sex & Drugs & Rock & Roll” and which garnered some album play in the US, was not on the first version of the UK album; however, it was added (but not credited) to releases in 1978 in the UK. “My Old Man” made it as a B-side of “Wake Up and Make Love with Me” single in Australia – this may be the track’s only single release worldwide. The standout aspect of this track is the excellent saxophone work by Davey Payne.

I’m glad to be back and I hope you’ve had a happy Father’s Day – if that fits.

Wings: Give Ireland Back To The Irish

Happy St. Patrick’s Day! While I only have a modicum of Irish blood in my ancestry, we are all Irish on St. Paddy’s Day. I’m wondering why I’ve never featured Wings’ controversial song “Give Ireland Back to the Irish” until now – so I guess now is the best time. While naturally it was a #1 record in Ireland, it was banned by the British Broadcasting Corporation, but still managed to chart at #16 on the UK charts.

The song was written by Paul and Linda McCartney and recorded by Wings within two days following the Bloody Sunday massacre in Derry, Northern Ireland on January 30, 1972.  Due to the controversy in the UK, EMI Records did not want the record released, but Paul McCartney insisted and so it was. In addition to the BBC, Radio Luxembourg also banned it as well as Independent Television Authority in Britain.

In the US, the public did not warm-up to the record as did the public in other countries. When it was released in 1972, it was a single only release – like several of the band’s singles of that era. “Give Ireland Back to the Irish” did not appear on an album until issued as a bonus track on the CD version of Wings’ first LP: “Wild Life.” The flip side, an instrumental version of the same tune, was not included.

Happy St. Patrick’s Day.

Liberty Records: A Not So Merry Christmas

One of Liberty Records’ biggest stars of the early ‘60s was Bobby Vee; however, his music was filled with stories of bad relationships. Notwithstanding, Bobby struck a chord with the record buying public. Maybe it was his boyish good looks, his smooth voice, or possibly consumers identified with the content of his message.

And let’s take a look at his message. Consider “Take Good Care of My Baby” and “Run to Him” – he was giving his gal up to some other guy without an argument. At other times, he wasn’t quite sure of the stability of his partner or his relationship status; think of “Devil or Angel” and “The Night Has a Thousand Eyes” – with the latter tune implying that Bobby was a stalker.

On another occasion, he is the constant rebound lover in “Rubber Ball” – there to always pick up the pieces when an old girlfriend ends a relationship with another guy; he would later become a victim. To heap coals on the fire, just remember “Please Don’t Ask about Barbara.” Finally, there’s “Come Back when You Grow Up” girl. Let’s not even go there.

Do we see a theme developing? This guy keeps chasing the women away. Today’s Christmas selection is no better, as Bobby was planning to have “A Not So Merry Christmas.” Unable to repeat the mirth of the previous holiday season, the sad “A Not So Merry Christmas” leads off the second side of the “Merry Christmas from Bobby Vee” album, which was released in December 1962. Vee is backed by The Johnny Mann Singers on all of the cuts.

Actually, “A Not So Merry Christmas” would have made a great Christmas single, as it modeled Vee’s formula hits. Originally, Liberty had intended issuing it as a 45, but shelved that idea, as “A Night Has a Thousand Eyes” was released the day after Thanksgiving 1962. A Christmas single would certainly erode sales of this up-and-coming hit record and in essence, Bobby would be competing with himself – and we see what happens when he competes with other guys – he loses.

Since the “A Night Has a Thousand Eyes” LP would not hit the stores until April 1963, the release of a Christmas album fit into Liberty’s overall marketing schema. Unfortunately, the release only charted at #136. While 13 of his 25 albums never made the charts, “Merry Christmas from Bobby Vee” had the third worst position of the 12 that had placed on Billboard’s Top 200 Albums chart. Be that as it may, “A Not So Merry Christmas,” even with his characteristic sad undertone, is still a classy tune. Here’s wishing that you have a better Christmas than Bobby Vee did in 1962.

Vee Jay Records: Thank You Girl

Happy Thanksgiving and today’s selection is the reason I picked Vee-Jay Records as our fourth week label feature. “Thank You Girl,” which was originally titled “Thank You Little Girl,” was an effort for The Beatles to thank their female fans. They hoped that each of these young ladies would consider the song as being a personal message of gratitude. The recording featured John Lennon on double tracked lead vocals and Paul McCartney on the high harmony. Additionally, it was the first recording by group to feature double tracked vocals. The song took 13 takes to complete and features harmonica overdubs by John Lennon.

The Beatles’ “Thank You Girl” appeared as a flip side on not one, but two Vee-Jay single releases by The Beatles. When Capitol Records passed on The Beatles in 1963, the masters of their first album, “Please Please Me” in the UK, were leased to Chicago based Vee-Jay Records. Prior to Beatlemania hitting America by storm in 1964, Vee-Jay released two singles: “Please Please Me”/”Ask Me Why” and “From Me to You”/”Thank You Girl.” The latter was released in the US on May 6, 1963. Since The Beatles were yet an unknown commodity in North America, “From Me to You” only charted at #116.

Once the floodgates were opened with the #1 release of “I Want to Hold Your Hand” on Capitol,” Vee-Jay began ramping up their Beatles product and beat Capitol to the punch with the first American Beatles’ LP, “Introducing The Beatles,” on January 10, 1964. Capitol followed with “Meet the Beatles!” ten days later.

Although the album titles and covers were different, “Introducing The Beatles” and “Please Please Me” had much in common including track order. There was one major difference; the UK version had more songs. Like all of the UK releases through “Revolver,” “Please Please Me” was no exception, as it contained two additional cuts that were eliminated from the American release. “Please Please Me” and “Ask Me Why,” which had been previously issued in early 1963 as the first Beatles’ Vee-Jay single, were not on the initial release of the album.

As Vee-Jay was trying to quickly capitalize on the new found fame of The Beatles before their license expired, “Introducing The Beatles” was repacked several times. The first reissue replaced “Love Me Do” and “P.S. I Love You” with “Ask Me Why” and “Please Please Me.” This was due to a restraining order from Beechwood Music, Capitol’s publishing arm, who had not licensed these two songs yet in the US.

During 1964, Vee-Jay issued other albums featuring the material from “Introducing The Beatles.” These included “Jolly What! England's Greatest Recording Stars: The Beatles and Frank Ifield on Stage” (which was later repacked as “The Beatles and Frank Ifield on Stage”); “Songs, Pictures and Stories of the Fabulous Beatles”; “The Beatles vs the Four Seasons”; and an EP, “Souvenir of Their Visit to America.” The two versions of the Beatles/Frank Ifield album was misleading as all of the tracks were studio recordings – four by The Beatles and eight by Ifield.

Additionally, Vee-Jay flooded the market in 1964 with additional Beatles’ singles. These included the following:

• “Please Please Me”/“From Me to You,”
• “Ask Me Why”/“Anna” (promo only),
• “Twist and Shout”/“There’s A Place” (on Vee-Jay subsidiary Tollie Records),
• “Do You Want to Know a Secret”/“Thank You Girl,”
• “Love Me Do”/“P.S. I Love You” (on Vee-Jay subsidiary Tollie Records),

The second release of our feature tune was as the “B” side to “Do You Want to Know a Secret.” This single was released on March 23, 1964 and did quite well as a double sided hit. “Do You Want to Know a Secret” peaked at #2, while “Thank You Girl” made it to #35.

The record was certified gold for sales in excess of a million copies. Because Vee-Jay was overwhelmed in pressing Beatles’ records, numerous label variations exist for all of the releases. The one shown above is a Tollie yellow blank used for this particular issue. Black blanks, also used for Tollie releases, were used as well.

To make one last stab at sales before Vee-Jay’s license expired in October 1964, the label issued four Vee-Jay/Tollie singles on their subsidiary Oldies 45. “Do You Want to Know a Secret” and “Thank You Girl” were issued with the lowest catalog number of the four simultaneous releases.

True Stereo Version

While the Vee-Jay issues were either mono or rechanneled stereo, a true stereo version of “Thank You Girl” was issued by Capitol on “The Beatles’ Second Album,” which was released on April 10, 1964. In addition to being a true stereo mix, this version of “Thank You Girl” contains additional harmonica parts during the song’s bridge and at the end.

Capitol added extra reverb to the vocals its North American album release of “Thank You Girl.” To me the reverb is a bit over-the-top considering that the wet signal was in a different channel than the dry signal, and that sounds a bit odd at times. Since this was a different mix, Capitol may have sidestepped Vee-Jay’s rights to the song.

Following the expiration of Vee-Jay’s license, eleven of the songs from “Introducing The Beatles” were issued by Capitol on “The Early Beatles” in March 1965. One year following Vee-Jay’s last minute issue of four singles on their Oldies 45 label, Capitol issued six singles by The Beatles in their Starline Series of oldies singles.

While in the 70s and 80s, all of The Beatles’ singles were issued with the Starline imprint, these six releases were the only Starline Series Beatles’ records in the 1960s. Similar to the standard yellow/orange Capitol swirl label, the original Starline Series releases were in a two-tone green swirl.

Of the 12 songs released on the Starline label, 10 of these had appeared previously as Vee-Jay recordings. While the first four had the same configuration as the Oldies 45 singles, two additional singles were issued: “Roll over Beethoven”/“Misery” and “Kansas City”/“Boys.” If you notice on the Vee-Jay releases, the songwriting is credited to McCartney-Lennon rather than the more common configuration of Lennon-McCartney that was used thereafter.

The song fulfills several duties today.  Because it is an expression of thanks, we make it our Thanksgiving holiday song.  It also charted in the 30s, so it is our Thirty Something Thursday release.  Finally, since it was released multiple times, it fits the bill as our Thursday's Threepeats and Repeats selection. Hope you enjoy both versions. 

Elektra Records: People are Strange

Happy Halloween! As with the last several years, I like to find a fitting song to feature on this auspicious holiday of ghosts, goons, and goblins. Since I’m also in the midst of our Fourth Week feature on Elektra Records, the pickings are slim. After much searching for an Elektra recording that fits the mood of All Hallows Eve, I’ve settled upon The Doors’ “People are Strange.”

This 1967 hit has a perfect sound. It starts out with just Robby Krieger’s guitar and Jim Morrison’s vocals. Ray Manzarek adds two keyboard parts. One of these is a tack piano, which is where thumbtacks are applied to a piano’s hammers to give it a clickity (if that’s a word) and old fashioned honky-tonk sound. In the case of this song, it almost has a harpsichord feel. That may be the result of the use of reverb on the piano.  Manzarek also plays accents on his Vox Continental combo organ.

As always, John Densmore is on drums. Since the band didn’t have a bass player and Manzarek typically played a Rhodes’ keyboard bass during their live dates, Douglass Lubahn was brought in as a sideman on bass – a duty he filled quite frequently on The Doors’ recordings. Backing vocals were supplied by Manzarek, Krieger, Densmore, producer Paul Rothchild, and engineer Bruce Botnick. By the way, Krieger’s guitar parts are fantastic and his use of the tremolo bar to raise the pitch of the last chord is a fitting end to this strange tune.

Although actually composed by Morrison and Kreiger, the entire band received songwriting credit. From their second album “Strange Days,” “People are Strange” peaked at #12. This is such a great tune. So tonight, be careful with the “faces [that] come out of the rain.”

Kim WIlde: Kids In America

Well today is our nation’s birthday and 238 years ago the Continental Congress signed the Declaration of Independence separating the United States from Great Britain. It is only fitting that we pick a song that mentions America – in fact, its record label, EMI America, has our national identity also in its name.

Interestingly enough, even though Kim Wilde’s “Kids in America” references the US, Wilde is a Brit and EMI Records was a UK owned concern. Released worldwide in 1981 and in the US in 1982, the technopop “Kids in America” did better in other countries than it did in the US.

In fact, the song’s performance in Canada at #34 was worse than its #25 slot in the US. It was a number one hit in Finland and South Africa and a top 5 hit in 10 other countries. I remember playing this on WCIR in Beckley, WV and it produced a lackluster local performance – which was prophetic of its activity across the nation.

Written by Wilde’s brother Ricky and her father Marty, “Kids in America” served as Kim’s introduction to the music scene. Additionally, “Kid’s in America” was remixed and rereleased in 1994, but alas, it failed to chart then as well. In 2006, Wilde rerecorded the song, but did not release it as a single for a third time.

Happy Fourth of July to all the “Kids in America.”

The Winstons: Color Him Father

For Father’s Day, The Winston’s 1969 hit “Color Him Father” seems appropriate. The song is about a young boy’s step-father who married his widowed mother and the man with the “big wide grin” took her seven children as his own. The song is sung by Richard Lewis Spencer who also played tenor sax in The Winstons. Spencer, who wrote the tune, won the Grammy in 1970 for “Color Him Father” as the Best R&B Song.

“Color Him Father” charted at #7 on the Hot 100 and #2 on the R&B chart. Selling over a million copies, the Recording Industry Association of America certified “Color Him Father” as a gold record. Unfortunately, “Color Him Father” was the band’s only hit recording; however, the flip side, “Amen, Brother,” is known as being one of the most sampled recordings in history. Previous to their own recording career, The Winstons served as the backup band for The Impressions.

Reprise Records: Ruby, Don’t Take Your Love to Town

It’s Memorial Day in America and a time when we honor those who gave all for the cause of freedom. By extension of thought, we also recognize all of those who have served in the military – “all gave some; some gave all.” One of the saddest things about our country is the lack of respect of those who have served with dignity. Our wounded warriors do not often get the admiration of our government, our citizenry, and sometimes their own family. Today, we look at a song where the latter occurred.

Day Two of our look at Reprise Records examines a classic recording by Kenny Rogers and The First Edition from 1969: “Ruby, Don’t Take Your Love to Town.” While it was not the first recording of this Mel Tillis composition about a paralyzed Vietnam veteran, it is the best known version. It was first recorded by Johnny Darrell in 1967 and was a Top 10 country hit.

While Rogers and The First Edition’s version two years later only made it to #39 on the country charts, it peaked at #6 on the US pop and adult contemporary charts. It also was a Top 5 hit in Canada, the UK, and the Netherlands. The single was arranged and produced by two veteran musicians – respectfully Glen D. Hardin and Jimmy Bowen.

The song’s lack of country enthusiasm was probably due to two factors. First, it was a recent remake of a big country hit from two years earlier. Second, The First Edition had been labeled as a psychedelic band with their first big hit “Just Dropped In (To See What Condition My Condition Was In).” Country radio would have steered clear of anything that remotely resembled the counter culture. I bet today that Kenny Rogers’ version of the song and not Johnny Darrell’s earlier hit is the one heard on country radio.

Thanks to all of our soldiers, sailors, Marines, and airmen who have served our country with unquestioned loyalty. Happy Memorial Day.

Horslips: Drive the Cold Winter Away

For this St. Patrick’s Day, I thought I’d feature a cut from my favorite Irish band “Horslips.” Spring officially begins this week; but as I look out my window, I still see snow on the ground. I thought that I’d feature a near instrumental that was the title cut from their 1975 album “Drive the Cold Winter Away.” If I thought this song would have accomplished this, I would have featured it months ago – as what a winter we have had. Horslips plays this as the original tune was written in Dm; however, they end the tune on a D major chord.

While this 17th century Christmas carol is referenced as a yuletide melody when sung, Horslips only sings the title during the song’s ending phrases – so for those not familiar with “Drive the Cold Winter Away,” it may very well appear as an ode to ending the winter season. Such as the case may be, I figured that there is no harm to play it on a snowy St. Patrick’s Day when it is nigh unto the end of winter. . . and, since St. Patrick was a Christian missionary, I believe I’ll be forgiven by featuring this tune a little late in the winter season. Happy St. Patrick’s Day.

Chess Records: Love For Christmas

Because the soul group the Gems only produced regional hits for Chess Records, they are often overlooked in the history of the genre. One notable aspect of the Gems is that their lead singer was Minnie Riperton. Riperton later rose to fame in 1975 with the #1 hit single “Lovin’ You.” At the time she joined the all-girl group, Riperton served as the receptionist at Chess.

Written by producer Billy Davis, “Love for Christmas” was released for Christmas 1964, and like the band’s other singles, it failed to gain any national recognition. Arranger Phil Wright borrowed generously from the Motown sound for this single. I particularly like the tubular bells used throughout the song, but featured prominently during its intro.

Chess Records: Run Rudolph Run

Although Chess Records had a number of Christmas themed songs, the best known holiday classic on the label was by Chuck Berry’s “Run Rudolph Run.” Released in November 1958, the single peaked that Christmas season at #69.

The interesting aspect of this song was that the writing credits were listed as C. Berry Music and M. Brodie. In this case, C. Berry Music was a pseudonym for Johnny Marks, who along with Marvin Brodie, penned the tune.

Marks’ name was probably eliminated so that R&B radio would play the tune. Marks is known for writing a number of Christmas classics that included “Rudolph the Red-Nosed Reindeer,” “I Hear the Bells on Christmas Day,” “Rockin’ Around the Christmas Tree,” “Holly Jolly Christmas,” and dozens of others.

In addition, the Chess releases listed the publisher of the song as its own in-house publishing concern: Arc Music, BMI; however, the song was actually administered by St. Nicholas Music, ASCAP – the company owned by Johnny Marks.

The Piano Guys: Carol Of The Bells

One of my favorite Christmas tunes is “Carol of the Bells”; this week, I stumbled upon a unique version of the tune that also incorporates the English carol “God Rest Ye Merry Gentleman.” Produced by The Piano Guys, here’s a rendition arranged and performed with 12 ‘cello tracks.

“Carol of the Bells” was based on a pre-Christian, traditional, winter folk chant from Ukraine. Originally intended to be an a cappella presentation for a four voiced choir, the “Carol of the Bells” did not reach western ears until 1921 when the Ukrainian National Chorus toured Europe and the Americas. Its first recording in its present sense as a Christmas song came with the Robert Shaw Choral’s rendition of the song in 1946.

The video shows the principal ‘cellist on this arrangement: Steven Sharp Nelson. The song appears on The Piano Guys’ 2013 release of “A Family Christmas.” The CD peaked this season on the Top 200 Albums chart at #20 and on the Classical Albums chart at #23.

Seymour Swine & The Squeelers: Blue Christmas

Back in 1985, I spied an unusual single at one of the local record stores in Beckley, WV. Without hearing it, I was intrigued and so I bought it. I am glad that I did, as it became a Christmas staple of my radio show for nine years. While I am not much on novelty records, this is my favorite holiday novelty tune – Seymour Swine and the Squeelers with their rendition of “Blue Christmas.”

Until recently, I thought this was a one man effort and it sounded as though it was recorded in someone’s living room with one other person “laughing all the way.” Seymour Swine was Denny Brownlee who was also armed with a kazoo. The Squeelers comprised only one person – Bill Lynn on acoustic guitar. Seymour Swine’s vocals are instantly reminiscent of Porky Pig.

There are no identifying marks on this record to tie it to a real artist or label – perchance to avoid litigation with Warner Brothers or Mel Blanc or both. But now you know the culprits. You can't miss this single - the label is piggy pink adorned with pigs dancing around a Christmas tree. A Christmas wreath surrounds the center hole.

When I played this version of “Blue Christmas” on the air, it always generated numerous requests for more plays. I have included it as our Friday Flipside, as both sides of the record are identical.

The O'Jays: Christmas Ain't Christmas

For our Thursday Repeats and Threepeats, we provide a song that was issued five separate times: The O’Jays’ “Christmas Ain’t Christmas New Years Ain’t New Years Without the One You Love.” Like many Christmas songs, it failed to chart during any its five releases. Written by Kenny Gamble and Leon Huff, this holiday classic by The O’Jays was issued on three separate labels owned by composition/production duo.

In 1969, the single appeared on Neptune Records #20 paired with “There's Someone (Waiting Back Home)” on N-20. During the following year, it appeared on Neptune N-33 backed with “Just Can't Get Enough.”

By 1973, the same configuration appeared on Philadelphia International Records #ZS7 3537. This was repeated on Philadelphia International #ZS8 3581 in 1975 and in 1980 on TSOP Records as #ZS8 3771.

In 1975, Philadelphia International was rebranded as TSOP. This was largely due to the success of the #1 instrumental hit TSOP (The Sound of Philadelphia) by MFSB in 1974. In addition, Philadelphia International was involved in a payola scheme in 1975, so rebranding also helped distance the label from its legal troubles.

Produced by Gamble and Huff, “Christmas Ain’t Christmas” was arranged by veteran Philadelphia musician Thom Bell. It is an example of the Philly Sound made popular by Gamble and Huff’s stable of artists.

Steve & Ruth Smith: I Wonder As I Wander

In 1933, musicologist John Jacob Niles was visiting Western North Carolina collecting American folk songs. Near Murphy, he came upon a group of Evangelicals who had been evicted from the local town. A young girl captured his attention by singing a fragment of a song. She repeated it seven times in order to earn a quarter. Her name was Annie Morgan, and although she was disheveled and her tattered clothes were filthy, Niles was mesmerized by her impromptu performance.

Niles took the fragment of lyrics and a rudimentary melody and wrote the Christmas song “I Wonder as I Wander.” While it has been sung thousands of times by numerous artists, I found this wonderful instrumental of the song by Steve and Ruth Smith from near Boone, NC.

As you will discover, the sparse instrumentation of guitar and hammered dulcimer is far more rewarding than a full orchestra. Ruth Smith shines on the dulcimer while Steve accompanies on the acoustic guitar. The duo has been performing for 35 years and has received numerous accolades. While this is a live performance of “I Wonder as I Wander,” the duo released it on their Christmas CD, “An Appalachian Winter,” in 2009.

German Unity Day: Nena: 99 Luftballoons

In celebrating Germany Unity Day and our Thursday Repeats and Threepeats feature, we bring you the second highest charting German language song in the US – Nena’s “99 Luftballoons.” Its initial August 1983 American release with “Just a Dream” as the flip side was pulled from the shelves rather quickly; the second release in September, however, gave purchasers the opportunity to have both the German language original in addition to its English counterpart, “99 Red Balloons.” Both singles were issued by Epic under the same catalog number of 34-04108.

The English version was not a direct translation and took some liberties to be able to adjust for correct phrasing and rhyming in the context of the same tune. In fact, “red” in the title was added because “luftballoon” is simply translated as “balloon” in English and a word was needed for the additional syllable.

Interestingly enough in America, the German version was the preferred variation. While the English version did get airplay, most airtime was credited to the original recording. While Australia’s preference was similar, the Brits, Irish, and Canadians preferred the English version. Nena, by the way, was the name of the group and not the lead singer; her name is Gabriele Kerner.

The song originated as an anti-nuclear war protest song. The idea was that someone released a number of helium balloons which were subsequently spotted on West German RADAR. Thinking that it was a Soviet attack, a subsequent retaliation led to a nuclear war. Thank goodness that never happened. On this date in 1990 both East and West Germany were reunited – thus giving rise to today’s national holiday in Germany.

“99 Luftballoons” did quite well in the US, as it charted on four separate Billboard charts. It peaked at #2 on the Hot 100, #22 on the dance chart, #23 on the rock chart, and #42 on the adult contemporary chart. “99 Luftballoons”/”99 Red Balloons” was a #1 record in eleven countries. Two newer versions of the tune were subsequently released in 2002 and 2009. The original flip side, “Just a Dream,” was later released as a single in its own right during spring 1984; however, its second time around peaked with a dismal showing at #102.

Elliott Smith: Independence Day

I thought I’d feature something a little different for Independence Day. In 1998, Dreamworks Records released the fourth album by Elliott Smith – his first solo release for a major label. Smith had already gained a reputation as an indy audience who layered his tracks with instrumentation and vocals – doing most of the performance himself. An for this 4th of July, we feature Smith's recording of "Independence Day."

The album whose working title was “Grand Mal” was released under the title of “XO.” I think what attracted me to the song “Independence Day” was his use of a Wurlitzer Electric piano (or a digital clone of the instrument). The drums are actually sequenced from a drum machine – but have a real feel to them.

While he had a troubled life and adulthood, Elliott channeled his experiences through his music. In fact, Elliott was not his real name. He was christened as Steven, but felt that the name “Steve” made him sound like a jock and “Steven” sounded too studious. He chose Elliott as his professional name and there are several theories why he select that particular moniker.

He died in 2003 of a stab wound which may or may not have been self inflicted. An official ruling of the nature of his death was never made and the case was not investigated further.

The Guess Who: Albert Flasher

To help our neighbors to the north celebrate Canada Day, I thought I might include a little Canadian rock ‘n roll courtesy of The Guess Who. Recorded as a non-album single, “Albert Flasher” was originally intended to be the “B” side of “Broken.”  Radio flipped this boogie-woogie influenced tune in the key of “G” and “Albert Flasher” was chosen instead as the “plug” side of the single.

According to Richard Crouse in Who Wrote the Book of Love? The Stories Behind the Hits – from Chuck Berry to Chumbawamba, Burton Cummings took the name “Albert Flasher” from the “alert flasher” lamp at a radio station where he was being interviewed.  “Alert flasher?” Maybe that's what they call them in Canada - we call them "on-air lights" in the US.  The single peaked at #29 in the US and as expected did better in Canada at #13.

Since the song was featured in the movie “Almost Famous” but not on the soundtrack, it fits our Media Monday category. The single was recorded after Randy Bachman left The Guess Who to form Brave Belt – an early incarnation of Bachman-Turner Overdrive. The guitar parts were supplied by Bachman’s replacements Kurt Winter and Greg Leskiw.