Our second Friday Flipside feature brings back a Santana tune from their quintuple platinum second LP “Abraxas.” “Samba Pa Ti,” which is translated as “samba for you,” was featured as the flipside for the album’s second single “Oye Como Va.” I became familiar with this piece shortly after the single was released which was a full year before I owned the album.
While the A-side charted at 13 in the US in 1971, the flip did not. “Samba Pa Ti” is a wonderful instrumental that features the guitar wizardry of Carlos Santana. Towards the middle of the song, keyboardist Greg Rolie kicked his Hammond B-3 organ into overdrive and overloaded the amplifier giving its sound a distinct growl. Later the song’s tempo switches into double time and plays at this increased speed until the end of the piece.
Friday, January 14, 2011
Thursday, January 13, 2011
Family Of The Year: ChugJug
Every once in a while when you hear a song that is used for a TV commercial bed, it sounds completely different in its entirety than what you experience in a brief 30 seconds. That was the feeling I got regarding today’s TV Thursday selection “ChugJug” by Family of the Year. Often the edit is only a small portion of the original and, as in this case, parts from different segments of the same song are joined together to create the musical effect.
Hailing now from Los Angeles, indie band “Family of the Year” has a much wider audience because “ChugJug” was used as the bed for an Advil commercial – “Take Action – Take Advil.” It is a great little pop tune that during the song’s bridge sounds a little like the songwriting of Paul Simon from a generation ago. Simon and Garfunkel were noted as being one of the main influences of the band.
I am unsure where the unusual title originated as it cannot be found in the song’s lyrics. One does not have to look far to find examples of hit records where the titles were unusual and absent from the lyrics entirely. Two that I can think of offhand are Bob Dylan’s “Rainy Day Women #12 and 35” and Robert Plant’s “Big Log.” There are numerous others and now “ChugJug” joins that list of esoteric song titles.
Hailing now from Los Angeles, indie band “Family of the Year” has a much wider audience because “ChugJug” was used as the bed for an Advil commercial – “Take Action – Take Advil.” It is a great little pop tune that during the song’s bridge sounds a little like the songwriting of Paul Simon from a generation ago. Simon and Garfunkel were noted as being one of the main influences of the band.
I am unsure where the unusual title originated as it cannot be found in the song’s lyrics. One does not have to look far to find examples of hit records where the titles were unusual and absent from the lyrics entirely. Two that I can think of offhand are Bob Dylan’s “Rainy Day Women #12 and 35” and Robert Plant’s “Big Log.” There are numerous others and now “ChugJug” joins that list of esoteric song titles.
Advil Commercial
Wednesday, January 12, 2011
Ian Gomm: Hold On
Last Wednesday, I began featuring one hit wonders in the middle of the week and from the stats for last week, it appears to be a wise choice. Today’s “One Hit Wonder Wednesday” tune comes from my days as a part-time jock at WAMX in Ashland, KY. Going by the name of Jay Andrews, I held down the Saturday morning and afternoon drive slots and really enjoyed working at this station.
It was my first shot at the Top 40 format – something I would later do at WCIR-FM in Beckley, WV and WOAY-FM in Oak Hill, WV from 1981 to 1987. I worked at 94X from December 1978 to August 1980 and there are a number of songs that remind me of my brief tenure there. One song that sticks out in my mind is Ian Gomm’s top 20 hit “Hold On” from the fall of 1979.
Ian Gomm had played rhythm guitar (and occasionally bass) in Brinsley Schwarz from 1972 to 1975. Gomm had contributed to two one hit wonders in 1979. He also co-wrote fellow Brinsley Schwarz member Nick Lowe’s top 15 hit “Cruel to be Kind” which peaked at 12 in August of that year. “Hold On,” released in the US on Stiff/Epic Records, only made it to 18 in October. While the original title of Gomm’s debut LP was “Summer Holiday,” the album was rechristened in the US as “Gomm with the Wind.”
It is a pity that it didn’t do better as it a great song. It starts out with a driving acoustic guitar which is then joined by one of the most perfect bass lines to hit the top 40. Last week we mentioned Raphael Ravenscroft’s sax work on Gerry Rafferty’s “Baker Street”; he is back with a killer alto saxophone lead that makes this song.
Why wasn’t this song a bigger hit? Probably because of bad promotion on the part of CBS Records' Epic division as Gomm was a Stiff Records’ artist and not a CBS signed artist. Such is the way of show biz.
It was my first shot at the Top 40 format – something I would later do at WCIR-FM in Beckley, WV and WOAY-FM in Oak Hill, WV from 1981 to 1987. I worked at 94X from December 1978 to August 1980 and there are a number of songs that remind me of my brief tenure there. One song that sticks out in my mind is Ian Gomm’s top 20 hit “Hold On” from the fall of 1979.
Ian Gomm had played rhythm guitar (and occasionally bass) in Brinsley Schwarz from 1972 to 1975. Gomm had contributed to two one hit wonders in 1979. He also co-wrote fellow Brinsley Schwarz member Nick Lowe’s top 15 hit “Cruel to be Kind” which peaked at 12 in August of that year. “Hold On,” released in the US on Stiff/Epic Records, only made it to 18 in October. While the original title of Gomm’s debut LP was “Summer Holiday,” the album was rechristened in the US as “Gomm with the Wind.”
It is a pity that it didn’t do better as it a great song. It starts out with a driving acoustic guitar which is then joined by one of the most perfect bass lines to hit the top 40. Last week we mentioned Raphael Ravenscroft’s sax work on Gerry Rafferty’s “Baker Street”; he is back with a killer alto saxophone lead that makes this song.
Why wasn’t this song a bigger hit? Probably because of bad promotion on the part of CBS Records' Epic division as Gomm was a Stiff Records’ artist and not a CBS signed artist. Such is the way of show biz.
Album Mix
Tuesday, January 11, 2011
Fludd: Cousin Mary
Ah, it’s Traditional Tuesday and time to head across the border to the Great White North – the home of Fludd. “Cousin Mary” received a minimal amount of airplay this side of the border, but was not an American hit. I remember hearing this single from late 1973 – perhaps on CKLW. It was recorded on Fludd’s 1972 album “Fludd . . . On!”; however, it was not originally slated for release as a single.
Daffodil Records, the band’s label, released three singles from the album in 1972, but only one made the Canadian charts. The band went on to record their third album and when production was delayed, Daffodil released the folksy “Cousin Mary,” which became their second best selling single.
Their biggest hit was the skiffle influenced “Turned 21” from their debut album which peaked in Canada at #16 in 1971. “Cousin Mary” topped the charts at #19 in December 1973. While not their biggest record, is probably their best remembered tune.
Daffodil Records, the band’s label, released three singles from the album in 1972, but only one made the Canadian charts. The band went on to record their third album and when production was delayed, Daffodil released the folksy “Cousin Mary,” which became their second best selling single.
Their biggest hit was the skiffle influenced “Turned 21” from their debut album which peaked in Canada at #16 in 1971. “Cousin Mary” topped the charts at #19 in December 1973. While not their biggest record, is probably their best remembered tune.
Monday, January 10, 2011
Robert Palmer: Respect Yourself
I first heard late Robert Palmer during the summer of 1974. This was between my freshman and sophomore year of college and I was back home working my old job at McDonalds in North Versailles, PA.
I had been hired the year before as the store’s first employee, since heading to Kentucky for my education, I was extended the invitation by management to come back and work college breaks – which I did until 1975.
As part of the closing crew that summer, I was often in the back of the store washing the various utensils used that day. Management allowed those in the back to listen to the radio to pass the time. One night, WDVE in Pittsburgh featured Robert Palmer’s debut LP “Sneaking Sally through the Alley.”
I liked his style, but never did purchase this first album. Several years passed and he had a string of hit singles starting with “Every Kind of People” that showcased the influence of American soul music in his vocal stylings.
Today, we feature Robert Palmer doing a cover of a Staple Singers hit “Respect Yourself.” He is accompanied by The Root Canal on this number for Danish Television. Palmer’s single release of the tune peaked at #45 on the UK charts in 1995.
Written by the late Luther Ingram and Mack Rice, “Respect Yourself” became a signature hit for the Staple Singers in 1971. Although only peaking at #12 on the Hot 100, the song placed at #2 on the Hot Soul Singles Chart the same year. The Muscle Shoals Rhythm Section who played on hits by Aretha Franklin and Wilson Picket were enlisted to play on this classic oldie.
I had been hired the year before as the store’s first employee, since heading to Kentucky for my education, I was extended the invitation by management to come back and work college breaks – which I did until 1975.
As part of the closing crew that summer, I was often in the back of the store washing the various utensils used that day. Management allowed those in the back to listen to the radio to pass the time. One night, WDVE in Pittsburgh featured Robert Palmer’s debut LP “Sneaking Sally through the Alley.”
I liked his style, but never did purchase this first album. Several years passed and he had a string of hit singles starting with “Every Kind of People” that showcased the influence of American soul music in his vocal stylings.
Today, we feature Robert Palmer doing a cover of a Staple Singers hit “Respect Yourself.” He is accompanied by The Root Canal on this number for Danish Television. Palmer’s single release of the tune peaked at #45 on the UK charts in 1995.
The Staple Singers Version
Written by the late Luther Ingram and Mack Rice, “Respect Yourself” became a signature hit for the Staple Singers in 1971. Although only peaking at #12 on the Hot 100, the song placed at #2 on the Hot Soul Singles Chart the same year. The Muscle Shoals Rhythm Section who played on hits by Aretha Franklin and Wilson Picket were enlisted to play on this classic oldie.
Sunday, January 9, 2011
Steve Martin & The Steep Canyon Rangers: Atheists Don't Have No Songs
A little tongue in cheek humor from Steve Martin and the Steep Canyon Rangers: “Atheists Don’t Have No Songs.” Recorded during their 2010 Austin City Limits performance, it is probably our most unusual Spiritual Sunday selection. I hope you enjoy it.
Saturday, January 8, 2011
Little River Band: Home On A Monday
The Little River Band’s third Australian and second US album “Diamantina Cocktail” produced several hit singles in the US. Much like Capital Records did with The Beatles’ albums in combining several albums together to produce a unique American product. Capitol/EMI did the same thing with “Diamantina Cocktail” combining the Australian release of “After Hours” with the Down Under version of “Diamantina Cocktail.”
The album was released on the Harvest/EMI and the following songs came from the band’s previous album “After Hours”: “Days on the Road,” Another Runaway”; “Everyday of My Life,” and “Take me Home.” Only four songs were carried from the original Australian release of “Diamantina Cocktail”: “Help is on its Way,” “Happy Anniversary,” “Home on Monday,” and “The Inner Light.” Not included on the US version were the original album's selections: “The Drifter,” “L.A. in the Sunshine,” “Witchery,” “Raelene, Raelene,” and “Changed and Different.”
I can’t judge the American release in comparison to its two Australian parents; however, I do know that I was completely satisfied when I purchased the album. I bought it largely based upon our feature song of the day “Home on Monday” which was played often at WVAF in Charleston, WV when they were operating with the Album Oriented Radio (AOR) format.
The US release include the following singles “Everyday of my Life,” “Help is on its Way,” “Home on Monday,” and “Happy Anniversary.” Although not all were released as singles in the US, only two songs charted on the US top 40: “Help is on its Way” at #14 and “Happy Anniversary” at #16. “Home on a Monday” failed to chart in the US.
As I said earlier, it was the airplay of “Home on a Monday” that prompted me to purchase this album. It’s still a great cut and our bubbling under feature for this Saturday. Here’s a live recording of the tune.
The album was released on the Harvest/EMI and the following songs came from the band’s previous album “After Hours”: “Days on the Road,” Another Runaway”; “Everyday of My Life,” and “Take me Home.” Only four songs were carried from the original Australian release of “Diamantina Cocktail”: “Help is on its Way,” “Happy Anniversary,” “Home on Monday,” and “The Inner Light.” Not included on the US version were the original album's selections: “The Drifter,” “L.A. in the Sunshine,” “Witchery,” “Raelene, Raelene,” and “Changed and Different.”
I can’t judge the American release in comparison to its two Australian parents; however, I do know that I was completely satisfied when I purchased the album. I bought it largely based upon our feature song of the day “Home on Monday” which was played often at WVAF in Charleston, WV when they were operating with the Album Oriented Radio (AOR) format.
The US release include the following singles “Everyday of my Life,” “Help is on its Way,” “Home on Monday,” and “Happy Anniversary.” Although not all were released as singles in the US, only two songs charted on the US top 40: “Help is on its Way” at #14 and “Happy Anniversary” at #16. “Home on a Monday” failed to chart in the US.
As I said earlier, it was the airplay of “Home on a Monday” that prompted me to purchase this album. It’s still a great cut and our bubbling under feature for this Saturday. Here’s a live recording of the tune.
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