Huey Lewis and The News: Bad Is Bad

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“I say cool is the rule – sometimes bad is bad.” In conjunction with the popularity of the 1985 movie “Back to the Future,” Chrysalis Records issued the single “The Power of Love” by Huey Lewis and the News. It proved to be the bands first of three #1 singles. An older song from their 7 times platinum album “Sports” was picked for the flip side. While the song “Bad is Bad” was older, most aren’t aware how old the tune actually is.

The song was written and originally performed by the group Clover. At the time of the song’s writing, Clover consisted of Alex Call, lead vocals and guitar; John Ciambotti, bass; John McFee, guitar; Mickey Schriner, drums; Sean Hopper, keyboards; and Huey Lewis, harmonica and vocals. While it is not known if Clover recorded the song, they did not release “Bad is Bad” on any of their albums or singles.

Upon leaving Clover, Hopper and Lewis formed Huey Lewis and the News. The other members went onto a variety of gigs which included backing Elvis Costello. As you will see, Clover wrote the song as late as 1978. Huey Lewis’ version was not the first recording of the tune and it was not the only one featuring Huey Lewis.

Thin Lizzy and Huey Lewis

Possibly the first recorded version of the song was by Thin Lizzy – at a much faster pace than Huey Lewis and the News’ own version six years later. Recorded in 1978, the version includes Phil Lynott on bass and vocals, lead guitars of Scott Gorham and Gary Moore, and drumming by Brian Downey.

A special guest appearance by one of authors featured the harmonica of one Huey Lewis. “Bad is Bad” was not included on the 1979 Thin Lizzy release of “Black Rose: A Rock Legend”; however, Lewis can be heard on two other cuts: “Sarah” and “With Love.” It was recorded during Gary Moore’s third stint with Thin Lizzy.

Dave Edmunds and Huey Lewis

In 1979, Dave Edmunds recorded and released “Bad is Bad” on his “Repeat When Necessary” album. Edmunds up tempo version also features Huey Lewis on harmonica.

On this recording, the harp is amplified with more distortion than found on the Thin Lizzie version from the same era. By the way, Nick Lowe is also on bass on this cut.

Go-Go's: We Got The Beat

I am planning to end this blog in 20 posts on September 26, 2012; however, if you would like see it continue, register your feelings in the survey found at http://tinyurl.com/8juv863.

Recently a Target back-to-school commercial utilized a redone version of the Go-Go’s hit “We Got the Beat.” While the original was not used in the ad, it still warrants the 1982 hit as qualifying as our TV Thursday selection.

 
While grammarians cringe on both the name of the group (the apostrophe should be eliminated as it is plural and not possessive) and the name of the song (should be “We Have the Beat”), it didn’t stop the song from peaking at #2 on Billboard’s Hot 100.

The tune was written by lead guitarist Charlotte Caffey and it made it to the Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. As with yesterday’s selection, movie exposure in 1982's “Fast Times at Ridgemont High” didn’t hurt record sales either.

Picture disc 45 backed with "Our Lips Are Sealed"

In 1981 when their previous hit “Our Lips are Sealed” was being promoted, Brenda Carlisle called me at WCIR pushing the record. It slowly climbed to #20, but set the stage for “We Got the Beat,” which was the Go-Go’s highest charting record.

Both singles appeared on their debut album “Beauty and the Beat.” During the summer of 1982, I drove to Cincinnati to see the Go-Go’s open for A Flock of Seagulls. They did an excellent job in this open air concert at King’s Island; however, “A Flock of Seagulls” was the loudest band I’ve ever seen. I think my ears are still ringing.

I had a chance to meet three of the band that night – Jane Wiedlin, Kathy Valentine, and Gina Schock. They were not the friendliest rockers I’ve met and I felt it that our presence was an imposition even though the local A&M Records rep was present, it cut no ice with the band – the star image had been cast. In addition, Jane Wiedlin was as unusual in person as her stage persona later dictated. It’s no act – she is different – not that there’s anything wrong with that.

The Original Version

Most people either aren’t aware that “We Got the Beat” was actually the band’s first single or they have forgotten that little known piece of rock history. Recorded with a previous lineup of the band in 1979 that included Margot Olavarria on bass, the single was released in the UK. It did cross over to the American club scene as an import and had sufficient play to chart at 35 on the Dance Charts – which is no easy feat with no product to generate sales.

The song came from a demo that the band recorded in 1979 and was released on Stiff Records. Olavarria left the band before the recording of “Beauty and the Beat” and was replaced by Kathy Valentine.

Target Commercial

The Fabulous Thunderbirds: Tuff Enuff

Does the name “The Fabulous Thunderbirds” ring a bell? I would hope at least you might remember their one-hit wonder from 1986 “Tuff Enuff” – the title cut from the album of the same name. When CBS Records promoted this single, they did so from the angle that the guitarist, Jimmie Vaughan, was the brother of guitar great Stevie Ray Vaughan. Stevie Ray also recorded for CBS Records’ Epic label.

While the band’s strength was attributed to Jimmie Vaughan’s connection to his brother, lead singer Kim Wilson was no slouch and his vocals on “Tuff Enuff” are a testimony of his talent. In addition, the song’s popularity was aided by its usage in three 1986 films: “Gung Ho,” “The Naked Cage,” and “Tough Guys.” Subsequently, it also was used in 1991’s “Ricochet” and 2007’s “The Game Plan.” The single and album were produced by veteran rocker Dave Edmunds.

The single was issued on CBS Associated Records – a short-lived label that had several well known artists including ELO, Slade, Ozzy Osbourne, Joe Walsh, Gino Vannelli, and Kansas. It also was home for lesser known artists Chris Jasper, Bertie Higgins, Kids at Work, and Henry Lee Summer. When Jimmie Vaughan left The Fabulous Thunderbirds and teamed up for his more famous brothers, they recorded for CBS Associated under the moniker The Vaughan Brothers.

“Tuff Enuff” may have been the biggest charting single in the label’s entire history peaking at #10 on the Hot 100 and at #4 on the Mainstream Rock chart. Other top contenders included ELO’s “Calling America” at #18 and Slade’s “Run Runaway” at #20. While I don’t remember the reason for the label’s creation, I think it was an effort to combine all of CBS’ minor labels into one. At one point there were numerous labels being managed by Epic/CBS Records.

In 1986, CBS discontinued the Portrait Records label with Epic remaining their star label of the Epic/CBS division. While Columbia Records was a CBS owned label, it was run as a separate operation. Sony purchased both CBS Records divisions in 1988 and in 2009 it merged the two into one as the Columbia/Epic Label Group. By 2011, Sony spun Epic off again as a division separate from Columbia Records. And the rest they say is history.

In addition, I used to sing back in 1986 and 87 in a band called The Game. I also played the repeating one note keyboard parts on my Sequential Circuits Pro-One synthesizer. They synth had a nice repeat function that I used on this song as well as in an earlier incarnation of the same band on the Human League’s “Don’t You Want Me Baby.” The synth also had an arpeggiate function and a simple quarter note sequencer. All could be used to create unique synthesizer patterns.

I plan to end this blog on September 26, 2012. If you would like to see it continue after that, let me know by registering your feelings in the survey found at http://tinyurl.com/8juv863.

Three of a Perfect Pair X Three

For Tasty Licks Tuesday, here’s a trio of versions of the song “Three of a Perfect Pair.” It was issued as a single and the title cut of King Crimson’s 1984 album “Three of a Perfect Pair.” It features Adrian Belew on vocals and guitar; Robert Fripp on guitar; Tony Levin on the Chapman Stick, vocals, and synthesizer; and Bill Bruford on drums. All four members of King Crimson contributed to the writing of the tune.

I was sure that the guitar was looped as Robert Fripp was known to do this; however, videos of live recordings show Adrian Belew playing the complicated arpeggios. It is possible that loops were used; however, in the following videos, you’ll see Belew playing (and simultaneously singing) the “complicated” guitar parts.

Adrian Belew’s Live Acoustic Version

Recorded live in London in 2000, here’s proof of Adrian Belew’s guitar prowess.

Belew, Levin, & Mastelotto Live Version

This was an encore performance featuring Adrian Belew, Tony Levin, and Paul Mastelotto. It shows that three Crimson members can produce a flawless version of a song that previously included four musicians.

I plan to end this blog on September 26, 2012. If you would like to see it continue after that, let me know by registering your feelings in the survey found at http://tinyurl.com/8juv863.

The Beatles: We Can Work It Out

Since I needed something for Labor Day here in America, I decided upon a loosely related song that contained the word “work.” While it has nothing to do with physical labor, it does reference a relationship that had soured and the protagonist (Paul McCartney specifically) is trying to “work it out.”

It is believed that “We Can Work It Out” was written about his relationship with actress Jane Asher – apparently they worked it out as they remained together for another year and a half. Paul wrote the positive aspect of the song – the verse and chorus, while John wrote the bridge, which attacked the problem from a negative aspect – “Life is very short and there’s no time for fussing and fighting my friend . . .” George suggested that the middle and end of the bridge be in ¾ time.

 
The single, recorded during the “Rubber Soul” sessions in October 1965 and was issued as a double “A” sided single with “Day Tripper” in December. The video was shot in November and was obviously lip synched. I love John's humorous performance - typical Lennon antics. “We Can Work It Out” was a #1 record for the Fab Four. “Day Tripper” charted at #5.

 
Both songs appeared on the American only release – “Yesterday and Today.” Just another example of Capitol Records getting more mileage with the Beatles releases than did their UK EMI counterpart Parlophone. Parlophone made up for it by releasing “A Collection of Beatles Oldies” in 1966. Both songs appeared on this compilation album along with other non-album singles.

Paul’s vocals are double tracked – a technique the band began doing during the “Beatles For Sale” period. In addition to singing harmony and harmonium, John plays acoustic guitar. While George is seen playing electric guitar on the video, he did not play guitar on the single, but rather tambourine.

I plan to end this blog on September 26, 2012. If you would like to see it continue after that, let me know by registering your feelings in the survey found at http://tinyurl.com/8juv863.

Larkin Poe: Wade In The Water

My brother shared this recording with me last week and I was blown away by Larkin Poe’s interpretation of the old spiritual “Wade in the Water.” The recording came from Fairport Convention’s yearly Cropredy Festival on August 10, 2012. The two principle members of the band are sisters Rebecca and Megan Lovell, who along with their other sister, Jessica, were originally known as The Lovell Sisters.

When Jessica left the band to start a family, Rebecca and Megan continued but rebranded as Larkin Poe – the name of their third great grandfather who was a cousin to Edgar Allen Poe. Rebecca plays the killer mandolin and Megan is on the lap steel guitar which is being played strapped like a Melobar.

Both young ladies are credits to their respective instruments and have a vocal tightness that only siblings can have. Check it out.

Alternate Version

This alternate take of the same song has just the sisters and gives you an up close look at what they are actually doing. I love the killer lead by Rebecca. I’m going to try and work on doing this. Megan is no slouch with a little sacred steel.

I plan to end this blog on September 26, 2012. If you would like to see it continue after that, let me know by registering your feelings in the survey found at http://tinyurl.com/8juv863.

Fleetwood Mac: Oh Well

I am planning to end this blog in 25 posts on September 26, 2012; however, if you would like see it continue, register your feelings in the survey found at http://tinyurl.com/8juv863.

For many people, Fleetwood Mac started in 1975 with the Buckingham-Nicks era of the band. While that began the hit era of Fleetwood Mac, the band released nine original albums and three compilations prior to its new era.

The band also released numerous singles since 1967; however, only two charted prior to the 1975 incarnation: “Albatross, which was a number one record in the UK, made Billboard’s Bubbling Under Chart at #104; and “Oh Well, Pt. I,” which peaked in the UK at #2, but only charted at #55 in the US.

“Oh Well” was the band’s highest charting song in America until “Over My Head” peaked at #20. Because “Oh Well” was 8:56, it was too long for a single; Reprise Records split the song into two parts on the single as “Pt. I” and “Pt. II.” Unlike most split singles, “Oh Well” has two movements that made the task easier.

The first movement which was a fast blues number ended up being what was played by the band live. It features all of the band members except Jeremy Spencer. This Peter Green composition features a riff that is repeated over with Green starting on guitar and guitarist Danny Kirwan and bassist John McVie adding to Green’s riff. Green’s guitar has a unique tone and I am wondering if it is a resonator guitar.

The second movement, or “Pt. II,” features Green playing most of the instruments except the piano, bass, and drums. Jeremy Spencer handled the piano with Mick Fleetwood and John McVie on respectively on drums and bass. “Pt. II” starts with a Spanish style acoustic guitar accentuated by low notes on an electric guitar.

Green also plays a soprano recorder that reminds me of the “Theme from the Good, the Bad, and the Ugly.” He also plays ‘cello which comes towards the end of the second movement. With the instrumentation, it would be difficult for the band to reproduce live – an thus, it was omitted from their shows.

Following the British tradition of releasing singles separate from the album, “Then Play On” did not included “Oh Well” when the album was issued in the US in September 1969. With the minor success of the “Oh Well, Pt. I” single in the US, Reprise reissued “Then Play On” with the song and eliminated two Danny Kirwan numbers (“When You Say” and “My Dream”). The two songs are on the CD version of the album.