Pearl Harbor & The Explosions: You Got It (Release It)

Well, I’ll probably catch some flack over my decision for the artist to be featured on this the 70th anniversary of the Japanese attack on Pearl Harbor in the Hawaiian Islands. Since there are no songs I know of that deal with the subject of Pearl Harbor, I decided to go with a band that’s named in honor of the home of the Pacific Fleet – Pearl Harbor and the Explosions.

Generally categorized as a new wave band, Pearl Harbor and the Explosions released their debut LP in 1979 and their single “Driving” was a local hit in their hometown of San Francisco – this caught the attention of the A&R department of Warner Brothers Records who signed the band and re-released the LP and single.

Even a cover version by Jane Aire and the Belvederes was released before Warners could get the single out. Neither version charted within the Hot 100. It was a typical new wave record and this was responsible for the band’s small, but not mainstream, following.

The second single, “You Got It (Release It),” probably should have been the LP’s first single, as it was extremely commercial sounding. This 1980 release had everything Top 40 radio could want: a catchy hook, great harmonies and instrumentation, tight production, and a length of only two minutes and 29 seconds.

Warners, however, wanted capitalize on the regional value of “Driving”; however, mainstream radio was not ready for it. Top 40 programmers turned off by “Driving” probably never gave “You Got It” a listen – and truth be known, since “Driving hadn’t attracted national attention, it probably was not a priority for Warner Brothers’ promotions team either. Pity.

If they would have released “You Got It” first, it probably would have been a top 10 single, thus leading the way for exposure for their less than mainstream singles such as “Driving” and “Shut up and Dance.” The latter being a better choice than “Driving” for a follow-up.

Pearl Harbor, whose name is listed as Pearl E. Gates (real? – I doubt it), later experienced some minor chart action with a remake of Wanda Jackson’s “Fujiyama Mama.” I was trying to find the studio recording of that one, but alas, it is not on YouTube. A live version with the Clash is available, but her vocals are down in the mix more than I like. Besides, this is a better representation of what could have been a hit record.

None of their songs made it into the Hot 100 – this one should have though. Therefore, I cannot classify it as a one-hit wonder – so today’s theme resurrects the “Anything Goes Wednesday” category.

Rory Gallagher: Tatoo'd Lady

Tasty Licks Tuesday brings a feature from Rory Gallagher’s “Irish Tour ‘74” LP and documentary. “Tatoo’d Lady” had previously been released in studio form as the title from the album of the same name, the live version gives you the opportunity to see Gallagher, one of premier guitarists of the twentieth century, doing one of his signature tunes.

The song also features an interesting lead from Gallagher’s keyboardist, Lou Martin, on his RMI Electrapiano. If you can only buy one Rory Gallagher LP, “Irish Tour ’74” is the one to own.

Poco: You Better Think Twice

I got thinking about this song the other day and it brought back memories of my first concert – Poco at the Syria Mosque in Pittsburgh in 1973. When they did this song in concert, Richie Furay sang the lead – it would be his last tour with the band before creating Souther, Hillman, and Furay later that year.

 The original vocalist on this cut was its composer, Jimmy Messina. Messina had left the band after the LP “Poco” – their second, which features “You Better Think Twice.” It was their first single to chart – at a dismal #72.

The album and single also feature Rusty Young on pedal steel guitar (among other instruments), George Grantham on drums, and newcomer Timothy B. Schmidt on bass. Schmidt was the replacement for Randy Meisner who left the band after their debut LP. He would later replace Meisner again when he joined the Eagles. Everyone sang backup.

Live Reunion Version

Richie Furay joins the band in a reunion to do this classic Poco cut. Paul Cotton, who replaced Messina, plays the leads on this one. Rusty Young, who in later years became the band’s leader, introduces the song. Jack Sundrud is on bass and George Lawrence joins in on drums and percussion. I believe that Michael Webb is the keyboardist.

Phil Keaggy: Love Broke Thru

In 1976, Phil Keaggy released his second solo album after leaving Glass Harp. The title cut of his “Love Broke Thru” album is our Spiritual Sunday selection. It was the single for the LP and I remember playing this one to death at WKCC – my first radio gig.

The song was co-written by Keith Green, Todd Fishkind, and Randy Stonehill. It has since been released by Stonehill and the late Keith Green. Keaggy’s interpretation may have been most folks introduction to the song. The string arrangement which makes this song was composed by Michael Omartian – an artist we featured a few weeks ago.

Well known musicians who played on this cut included the following: Leland Sklar on bass, Jim Gordon on Drums, and Larry Knechtel on keyboards. Back-up vocals were supplied by Mylon LeFevre and Matthew Ward and Anne Herring of 2nd Chapter of Acts.

The Band: It Makes No Difference

Although Robbie Robertson penned the song “It Makes No Difference,” it was bassist Rick Danko’s vocals that make it come to life. Since it received a bit of album airplay in the 70s, it is regarded as our Saturday Bubbling Under hit. It appeared on The Band’s 1975 album “Northern Lights – Southern Cross.”

As with the remainder of the album, “It Makes No Difference” was recorded in 24 tracks. Keyboardist/saxophonist Garth Hudson made use of many of the empty tracks to layer keyboards. Hudson also plays the soprano sax leads on this song.

Robertson’s lyrics are powerful which I believe why so many people connected with this song. It includes memorable poetry such as “It makes no diff'rence who I meet. They're just a face in the crowd, on a dead-end street.” Love found and lost is echoed in “It makes no diff'rence how far I go – like a scar the hurt will always show.” Who can forget the poignant lines like, “These old love letters, well, I just can't keep. 'Cause like the gambler says read 'em and weep.”

Live Performance from “The Last Waltz”

Danko is playing a Gibson Ripper bass on this one and not the characteristic Ampeg AMUB-1 fretless bass he used to play in previous years.

The older bass had a scroll headstock and had F-holes that went through the body. Pretty neat.

Lyrics

It makes no diff'rence where I turn
I can't get over you and the flame still burns
It makes no diff'rence, night or day
The shadow never seems to fade away

And the sun don't shine anymore
And the rains fall down on my door

Now there's no love
As true as the love
That dies untold
But the clouds never hung so low before

It makes no diff'rence how far I go
Like a scar the hurt will always show
It makes no diff'rence who I meet
They're just a face in the crowd
On a dead-end street
And the sun don't shine anymore
And the rains fall down on my door

These old love letters
Well, I just can't keep
'Cause like the gambler says
Read 'em and weep
And the dawn don't rescue me no more

Without your love I'm nothing at all
Like an empty hall it's a lonely fall
Since you've gone it's a losing battle
Stampeding cattle they rattle the walls

And the sun don't shine anymore
And the rains fall down on my door

Well, I love you so much
It's all I can do
Just to keep myself from telling you
That I never felt so alone before

The Byrds: Why

I’ve often heard critics pan The Byrds’ LP “Fifth Dimension”; however, I regard it as my favorite album by the band. I guess I heard it quite a bit when I stayed two weeks with my brother in Kentucky in 1966. He had just purchased the album and it influenced me as a 10 year old to buy my first single, “Mr. Spaceman.”

The album produced two other singles besides “Mr. Spaceman” – “5D (Fifth Dimension)” and “Eight Miles High.” The latter was the first single and the highest charting of the three and peaked at #24. I guess the world was not ready for raga-rock at that time, but it remains a classic song from those pre-psychedelic days.

 “Eight Miles High” was the “A” side of today’s Friday Flipside feature of “Why.” The raga sound was explained as being influenced by David Crosby’s interest in Ravi Shankar’s sitar recordings.

Younger than Yesterday Alternate Version

Written by Roger McGuinn and David Crosby, “Why” was only released on single initially. That is, until 1966 when it was rerecorded for the “Younger than Yesterday” LP. The original single version was re-released as a bonus track on the “Fifth Dimension” CD in 1996.

Absolute Original Version of Why”

Actually, “Why” and “Eight Miles High” were originally recorded at RCA Studios in December 1965; however, Columbia Records refused to release anything that was recorded at a competitor’s studio. Therefore, the band returned to the studio and re-recorded both songs in early 1966. Both were also released as bonus tracks on the CD of “Fifth Dimension.” My favorite version is the one released on single. See what you think.

The Beatles: Birthday

I love it when a plan comes together and this morning I was looking for a birthday song that also had a corresponding commercial. Why? Because, they say it’s my birthday. What better song for a birthday than The Beatles’ “Birthday.” It was used in The Beatles Rock Band commercial that aired on Comedy Central. Works for me and kills two birds with one stone.

“Birthday” was only released as single as a special edition jukebox 45 in 1992 in colored vinyl. These were not issued to the public per se but collectors had access to purchase these limited edition releases. The flip was “Taxman” and the single was released in green vinyl.

It is unusual that I don’t have any of these 34 commemorative colored vinyl jukebox singles in my collection as I was both a Beatles and a colored vinyl collector. While researching this single, I saw where the green vinyl UK import of “Abbey Road” is now going for nearly $400. I think I paid $9.00 for mine in 1978.

Back to “Birthday”; it was a tune that was completely written in the studio and was approximately 50% Paul McCartney and 50% John Lennon in a time when the two had nearly stopped writing together; however, they shared writing royalties on everything with The Beatles.

The song kicks off side three of the “White Album,” which is officially known as “The Beatles.” I have that LP from Britain in white vinyl. You can pick this one up for under $100 if you shop around – more copies were pressed of this LP in white vinyl – and it is rarer on the Apple label.

The Beatles Rock Band Commercial