Cleveland Rocks with WMMS

A few weeks ago, Greg Rector, who has been a constant reader of this blog since its inception, asked if I would do a feature on the legendary rock radio station WMMS from Cleveland. I have done radio features before and one that I had done early on regarding WHAM’s Harry Abraham has garnered me some lifelong friends who also listened to this legendary jazz announcer from Rochester, NY. So, I have done some radio features – but usually I had listened to a station quite a bit that I knew it well.

With the case of WMMS, I had heard the station during my travels throughout Northern Ohio in the late 1970s; however, I could not claim to be an expert the station. WMMS, however, was the only station I listened to while driving through that region and I remember hearing bands like The Pretenders first on WMMS. During my brief stint in Album Oriented Rock (AOR) radio, I got to know the station better, as WMMS was considered one top AOR outlets in the US. If a cut was played on WMMS, dozens of others would add the song.

Ohio was a hotbed of AOR stations with excellent examples found in Youngstown, Columbus, Dayton, Cincinnati, Toledo, and elsewhere; however, Cleveland – the home of rock ‘n roll – had one of the better known AOR stations in the country.

The outlet began as the FM compliment to 5,000 watt WHK. When FCC rules enacted in 1967 required that AM and FM outlets (initially in the major markets) have unique programming, WHK-FM switched to the new progressive/underground format that in the 1970s morphed into AOR.

Metro Media, the owners of WHK-FM in 1968, rebranded the station as WMMS – for Metro Media Stereo – the call sign the station uses today even though ownership has changed several times since the Metro Media days. The progressive rock format did not initially perform well in Cleveland, and WMMS jockeyed a number of other formats during 1969 and 1970. It returned to the progressive/AOR format in 1970 and the rest, as they say, is history.

In the mid 1970s, WMMS adopted "The Buzzard" mascot – which simultaneously became the station’s alter ego. In 1981, Radio and Records (later R&R) declared that The Buzzard was the best known radio promotional emblem in the US. WMMS jocks simply referenced the station as "The Buzzard" as well.

While my listening to WMMS is limited, I got to know the station through my own work in radio. Even though most of the middle period of my radio career was in Contemporary Hit Radio, WMMS program director John Gorman was known nationally and across formats as one of the best program directors in the business.

Afternoon jock, Kid Leo, became a national celebrity appearing at conventions and later broadened his base in the music industry as the vice president for artist development at Columbia Records, a position he held from 1989 to 2002. While there were other well known personalities at WMMS, Gorman and Kid Leo are the only two with which I am familiar.

Ian Hunter: Cleveland Rocks

In 1979, former Mott the Hoople lead vocalist Ian Hunter released his best selling solo album, “You’re Never Alone with a Schizophrenic.” As a tribute to the birthplace of rock ‘n roll, Hunter recorded “Cleveland Rocks.” He felt that the Rust Belt city did not get the respect it was due.

The recording starts with a clip of legendary Cleveland disc jockey Alan Freed and his Moondog show (over WJW) that ties the perspective of Cleveland being rock ‘n roll’s birthplace with the voice of its father. The song became synonymous with Cleveland and is played often today. Every Friday, as Greg told me, WMMS would kick off the weekend by playing Hunter’s “Cleveland Rocks” followed by The Easybeats’ “Friday on My Mind.”

A cover by The Presidents of the United States gained national notoriety as the theme song to the Drew Carey Show which was set in Cleveland.

Ian Hunter: England Rocks

Two years previous to the release of the 1979 release of “You’re Never Alone with a Schizophrenic,” Hunter recorded the original version of “Cleveland Rocks.” At the request of CBS records to use another locale besides an American city, Hunter changed the lyrics to “England Rocks.”

“England Rocks” was released as a single in the United Kingdom by Hunter and his band the Overnight Angels. Hunter is clear on the subject of this version that “Cleveland” was the original and intended location for the song. I don’t know about you, but “England Rocks” just doesn’t have the punch that “Cleveland Rocks” has.

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.

Huey Lewis and The News: Bad Is Bad

Only 19 more posts are planned; however, you can change my mind by registering your feelings in the survey found at http://tinyurl.com/8juv863. We have yet to reach the requisite number to overturn my decision to bury this blog. Save the music - fill out the survey today!

“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.