Bob Dylan: If Not For You

In 1971, twenty-three year old Olivia Newton-John burst on the scene with her first of many top 40 hits. Although she had a hit with “If Not For You,” she was not the first to record the song. Bob Dylan, the author of the tune, had released it a year earlier on his “New Morning” LP. Bob’s version is my least favorite of the several I’ll share today and that has nothing to do with most people’s views of his singing ability. Bob’s version is a little jumbled sounding. It has too much going on in that it is almost a cacophony.

I bought the cassette of this LP probably in 1972 and I heard it a year after Olivia’s version charted. While “New Morning” was my first Dylan recording, “If Not For You” is not my favorite cut on the LP – that would be “If Dogs Run Free.” I still remember the opening line, “If dogs run free, then why not we – across the swooping plain?” Dylan’s version qualifies as a First Friday featured recording, and thus, “On with the show this is it.”

NOTE: YouTube: has removed both Dylan versions of this song

Slow Outtake Version

The album featured several well known musicians: Charlie Daniels, David Bromberg, Al Kooper, and Russ Kunkle to name a few. Although I have issues with his overproduced rendition from “New Morning,” I like the slower outtake much better; however, his vocal performance was better on his faster version – which may be why the other was released and not the slower more melancholy take.

George Harrison’s Version

On the triple LP set, “All Things Must Pass,” George Harrison paid homage to Dylan by recording “If Not For You” and their joint songwriting effort “I’d Have You Anytime,” which is the lead cut on the LP. Released in late 1970, Harrison’s version probably had more influence on ONJ’s recording than did Dylan’s. On Olivia’s single, there is the prominent slide guitar – a feature found on Harrison’s cover from “All Things Must Pass.” Harrison’s arrangement sounds more Dylanesque than Dylan’s own recording. It sounds as though it could have been on Dylan’s “Nashville Skyline” LP.

Olivia’s Hit from 1971

Released on the UNI label (an MCA subsidiary) in 1971, Olivia’s version only peaked at 25 on the US Hot 100 chart; however, it was a number one record on Billboard’s Adult Contemporary chart for three weeks. Elsewhere, the song had a respectable showing in the top ten in the UK, Australia, New Zealand, Ireland, and Canada.

Her American release on UNI (short for Universal City) allowed her to join a host of other UNI artists, such as Elton John, Neil Diamond, Desmond Dekker and the Aces, and Hugh Masekala.  In late 1972, MCA consolidated their labels (Decca, Coral, Vocalion, Kapp, UNI, and MCA Special Products) under one umbrella as MCA Records. Elton John’s “Crocodile Rock/Elderberry Wine” was the first single on the new label.  Being a record collector at the time, I bought it for my collection.

In 1988, MCA revived the UNI label and signed a half a dozen acts to the resurrected label. With MCA promising a full blown staff to support the resuscitated label, the head of UNI’s promotion department talked to me about joining their team, as radio was often a launching pad for record promoters.

At that time I was looking to get out of radio altogether as the pay and working conditions at WWNR were not the best. Although I liked our oldies format, it was a dead end position in radio. Things looked promising at UNI; however, within a few short months, I was told that MCA was pulling the plug on the label and there were no new positions being added - period. In the 90s, MCA rebranded as the Universal Music Group and again the UNI moniker was used for the third time in history.

Although a position in the music business was not forthcoming, things worked out well for me in the long run and I ended up staying at NR until January 1994 and then began to transition into what has been my current job since that time.

Röyksopp: Remind Me

TV Thursday explores the use of popular music for TV themes and as commercial music beds, and today is no exception. One of the more popular advertisers on American television is the GEICO Insurance Company. At any given time, GEICO will be running several different thematic ads. Currently, you might see the GEICO gecko, the “Unsolved Mysteries” parodies, and the ever popular caveman series.

Beginning in 2004, GEICO began upsetting sophisticated cavemen everywhere with the line “It’s so easy a caveman can do it.” The fourth GEICO caveman commercial aired in 2006 and had a jet-setting Cro-Magnon being offended at the ever present GEICO slogan while the technopop song “Remind Me” by Röyksopp is playing in the background.

Röyksopp had recorded the song in 2001 for their Melody A.M. album; however, a remix of the song was used for the commercial. I don’t know if it is just because I’ve heard the remix more frequently, but I prefer it to the original recording.

GEICO Commercial #4

In Norwegian, Röyksopp literally means “smoke mushroom” – a term for puff mushrooms. The band contains two keyboardists, Torbjørn Brundtland and Svein Berge, who both hail from Tromsø, Norway. On both the original recording and the remix, another Norwegian, Erlend Øye, provides the vocals.

Röyksopp’s Original Version

I do have one idea for the marketing folks at GEICO. I suggest that they create a cross-promotional ad where a caveman eats the gecko. I might be tempted even to switch to GEICO if they would air this commercial idea, as “It’s so easy a caveman can do it.”

Yoshida Brothers: Rising

For all of you heavy metal-Japanese-traditional-rock fans, here’s something a little different from the Yoshida Brothers: Ryōichirō and Ken'ichi. The song is called “Rising.”

I first heard this song about a year ago on West Virginia Public Radio and I believe it was on Jim Lange’s show "Electopia." If I remember correctly, he was featuring a variety of music that had an Asian flair. The songs encompassed music from the Arabian Peninsula to the Land of the Rising Sun. I came into the house after sitting in the driveway listening for the name of the artists and found this recording on YouTube immediately. The quality of the video is not the best, but it gives a good example of the Yoshida’s official video for this song.

The instrument they are playing is the shamisen – a long necked, three string chordophone that has an animal skin head over the instrument’s body. Typically, the shamisen is tuned D G D, but other tunings are also used. The shamisen and the Yoshida Brothers are not new to you, as their song “Kodo” was used for the very first series of Wii commercials a number of years ago.

Longer Stereo Version

It is an interesting concept of east meets west and it meshes quite nicely. Both brothers began playing the Shamisen at age five and the early introduction to the instrument and years of practice are readily noticeable. The duo fly up and down the fretless finger boards without any pitch issues. I will have more to come from the Yoshidas in the very near future.

Live Version of “Rising”

Gabriel Rodriquez: Canción de Cuna

For awhile, I have been searching the bowels of YouTube for a group I saw in concert in 1989 at Carnegie Hall in Lewisburg, WV. They were called Chacabuco and they married the sounds of the Americas with a unique instrumental combination. This unusual marriage of guitar, cello, violin, flute, charango, percussion, and Andean pan pipes produced a wonderful combination like I had never heard before or since.

The bad news is that there is not a single reference to the band that I can find on the Internet and it must surely mean that  musicians were in a short-lived combo. This weekend while going through old boxes, I found the cassette J-card the band sent me as when I purchased their cassette – the cover art had not yet been completed. For some reason I never took the J-card out of the envelope.

With it there in front of my eyes, I had the names of the songs they had performed on what probably was their only recording. I began searching song titles on YouTube and “Canción de Cuna” provided a number of recordings of this traditional Afro-Cuban lullaby that was arranged by Cuban guitarist Leo Brouwer. Unfortunately, YouTube has some of Brouwer’s recordings available – just not this beautiful piece.

As I listened to the various renditions of this song, I kept going back to Gabriel Rodriguez’s interpretation of this arrangement. He played it with such skill and finesse that I had contact the artist directly, as in his modesty, he did not post his name on his site. Gabe gave me permission to use his legal appellation for this Traditional Tuesday feature and hopefully in some small part it will provide a greater audience than he already has on YouTube.

One of the things I like about Gabriel Rodriquez’s playing is that he is not locked into a certain genre of music. By going to his YouTube site, you will find that he has a variety of recordings that span pop music, to classical, to traditional. You might find him playing the Beatles “Here Comes the Sun,” Michael Jackson’s “Billie Jean,” the Eagles’ “Lyin Eyes” along side of Leo Brouwer’s compositions, pieces by Bach, and others too numerous to mention.

While Gabe is found playing classical guitar on many of his recordings, he also plays steel string guitar, electric guitar, bass, ukulele, five-string banjo, mandolin, electric keyboards, and accordion. One of the things he also does is to find other YouTube artists and record guitar parts to undergird their recordings. I noticed a couple of real good examples including a cover of Jason Mraz’s “I’m Yours” that included another YouTube vocalist and a recording of “Greensleeves” that incorporates a tenor recorder video posted by another YouTube artist. If you want to listen to excellent musicianship, check out Gabe’s YouTube page and enjoy.

Blue Man Group: Baba O'Riley

Every Monday, I feature a cover tune as it is difficult on a Monday morning to get out of bed for the first day of the work week and today is no exception. I stumbled upon this little number by the Blue Man Group doing a fantastic job of The Who’s “Baba O’Riley.”

These guys are fantastic and I love the tuned percussion made from PVC pipe and what appears to be vacuum cleaner hoses doing the synthesizer parts at the beginning of the song. The prepared piano soundboard and harp add to the song. It appears that the strings in the three sections are all tuned in predetermined fifths of F and C, C and G, Bb and F.

Vocalist Tracy Bonham does a pretty good job on the vocals; however, she is no Roger Daltry – but who besides Roger Daltry is? Her violin skills are impeccable. There is another cut on You Tube where the performance is a little better from everyone’s perspective; however, the sound quality is not as good. I always defer to sound quality when I can.

When I was in Vegas two years ago, the convention I was attending was at the Venetian where the band performs; however, time was tight and I didn’t get to see them. I did, however, visit their store and considered buying a souvenir, but the prices were a little out of my range for a used drum head.

Looking down the Strip toward the Venetian

Outside the Venetian

The shopping area inside the Venetian (the sky is painted)

Live Version by The Who

Those who watch CSI New York will be familiar with this tune as it’s the show’s theme song. I am not sure when this was performed, but it had to be before September 1978 as Keith Moon is still alive. Dave Arbus from East of Eden played the violin on the studio version from “Who’s Next”; however, on tour, Roger Daltry plays harmonica as he does on this version.

2nd Chapter Of Acts: Easter Song

“He’s Risen, Hallelujah; He’s Risen, Hallelujah.” Our Spiritual Sunday song today celebrates the highest of holy days in all of Christendom – Easter – or better termed as Resurrection Sunday. On this day Christians celebrate the risen Lord and the glory and hope that His resurrection promises. To honor this day Contemporary Christian artists 2nd Chapter of Acts’ 1974 single “Easter Song,”

Although this rendition is a later live recording from the 1975 album “To the Bride,” the song was popular with Christian radio in the early ‘70s for its message, it had a great hook, and as it was under 2:30 in length. This is one of the favorites played by the staff of WKCC during the 70s.

The family singing group 2nd Chapter of Acts were part of the Contemporary Christian Music explosion that occurred in 1973 and 1974 when dozens of new artists flooded the then burgeoning music scene. Made up of brother Matthew Ward and sisters Nelly Ward (now Greisen) and Anne Ward Herring, they were discovered by Pat Boone who signed them under contract to MGM Records for two singles. It was Barry McGuire who utilized the trio on his debut Contemporary Christian LP, “Seeds.”

Signed to Myrrh Records (a division of Word) In 1974 by Billy Ray Hearn, they released their debut LP, “With Footnotes” that included “Easter Song,” an Annie Herring composition. When Hearn left Myrrh to form his own label, Sparrow Records, the trio were among the many acts that signed to the new company. The trio performed their last on August 12, 1988. Annie and Matthew continue to record as solo acts.

In 1998, CCM named “Easter Song” as the #4 top Contemporary Christian song of all time. The band was inducted into the Gospel Music Hall of Fame in 1999.

Happy Easter, “He’s Risen, Hallelujah.”

Lyrics

Here the bells ringing
They're singing that we can be born again
Here the bells ringing
They're singing Christ is risen from the dead

The angel up on the tombstone
Said He has risen, just as He said
Quickly now, go tell his disciples
That Jesus Christ is no longer dead

Joy to the word,
He has risen, hallelujah
He's risen, hallelujah
He's risen, hallelujah

The Fixx: Reach The Beach

Back in 1982, I was hanging out with the manager of the local Record Bar, Geoff Gardner, who turned me on to a lot of great music. He had such an excellent ear for new talent it made my job as music director of WCIR-FM in Beckley, WV an easier job. He lived in a house just below the radio station and I found myself there quite often. The Fixx’s first LP “Shuttered Room” was one he introduced to me about the same time that my MCA Records national rep began promoting me on “Stand of Fall.”

While I liked the song, I found it sometimes necessary to think like the general public and hear songs for their value as hits – which meant often suspending personal tastes and moving towards songs that had qualities that the mainstream audience would like and buy. I think I got pretty good at this and was eventually featured in an article written by Joel Denver in August 1983 – and was referred to being the “Gatekeeper.” It was job I took seriously, and really much of the credit goes to my mentor Ron Hill who helped me develop this skill. He was a great tutor.

 Ron Hill and the Author at WCIR-FM

Therefore, we played “Stand or Fall” in a minimum and unreported rotation at nights to test the waters. Even better than “Stand or Fall” was the follow-up single, “Red Skies,” which remains one of my favorite songs of the 1980s. I suspended judgment on this one as well and put it in the same minimal rotation. Unfortunately, we received no reaction to these two singles, although I feel they were critical 1980s recordings – they just weren’t hits.

Saved By Zero

The Fixx’s luck changed in 1983 when they released their follow up LP, “Reach the Beach.” The first single, “Saved by Zero” is my favorite cut off of the new album. It did go into rotation and did moderately well. It charted nationally in the US at 20 on the Hot 100 and 9 on the rock charts.

I can even remember one of the stupid things I said when introducing the song on the air, “yes friends, a biographical account from Camp Swampy when Lieutenant Fuzz was sinking in quicksand and a red haired private pulled him out – ‘He was saved by Zero.’” I told you it was bad, but that was typical in those days.

The song was later picked up by Toyota for a 0% financing promotion they did in 2008. It is a great tune and certainly the TV exposure didn't hurt its popularity.

One Thing Leads to Another

As I listened to an album, I heard another song that had hit appeal and when I found that “One Thing Leads to Another” was slated to be the next hit – I put it on immediately. In fact before it climbed the charts, the band I was playing in at the time, “Audio Game” began doing the song and our drummer Meredith Trent sang lead. I really had fun singing backup and doing the weird keyboard envelope effects on my Prophet 5 on this song.

One Thing Leads to Another - Remix

The song did quite well in North America charting at #3 in Canada, #4 on the Billboard Hot 100, and #2 on the US Mainstream Rock chart. In fact the song was a colossal dance record; however, it wasn’t long enough for club play. MCA rush shipped a 12” in blue vinyl to radio and the clubs with a 8 minute remix that filled the void. It charted at 14 on the dance charts. I still have my copy of the blue vinyl promo copy of this 12” single.

The Sign of Fire

The third single, “The Sign of Fire” only was a moderate hit. It charted at 32 on the Hot 100 and 20 on the rock charts. The song only charted in the US.

While the album is one of my favorites from the early ‘80s, it is an anomaly of sorts. “Reach the Beach” and its three singles did better in North America than it did in the band’s native Britain. None of the singles even charted in the UK and the LP placed at a dismal #91. In Canada, the album hit #9 and did slightly better at #8 in the US.  Nearly 30 years later, this album still delivers.