David Uosikkinen's In The Pocket: I Ain't Searchin'

I stumbled on this video a while back, and being a fan of The Hooters, I was intrigued by David Uosikkinen's In The Pocket project of “The Essential Songs of Philadelphia.” One of the songs was In The Pocket’s rendition of The American Dream’s “I Ain’t Searchin’” -- our Tasty Licks Tuesday selection for today.

The original version of “I Ain’t Searchin’” was recorded by the Philadelphia based band in 1970 and was produced by Todd Rundgren. It is said that it was Rundgren’s first attempt at producing a record. The single, which appears to be somewhat of a rarity, was released on the short-lived Ampex Records label as a single. While it wasn’t a national hit, it was favored selection in the City of Brotherly Love.

Nick Jameson, the songwriter and former member of The American Dream, also released a solo version of “I Ain’t Searchin’” in 1977 that appeared on his “Already Free” LP. “In The Pocket’s” rendition of the tune is a little grittier than the older versions of the song. It was recorded on November 6, 2012.

While David Uosikkinen's In The Pocket had a floating lineup, the personnel on this rendition includes Uosikkinen (drums) and Eric Bazilian (vocals, guitar, and harmonica) , Steve Butler (guitar and backup vocals), and singer/songwriter Cliff Hillis (bass and backup vocals). Uosikkinen played in both The Hooters and Smash Palace and is joined by guitarists from both bands: Bazilian from The Hooters and Bulter from Smash Palace.

Eric Bazilian and the author

The tune was recorded live in the studio, and if you pay attention to Eric Bazilian’s gold-top Les Paul, he is playing with a broken string, but that did not deter him from completing the task.  He also is using a dropped D tuning (DADGBE).  Butler, who plays the first lead break on the cut, used standard tuning. I had a chance to meet both Uosikkinen and Bazilian in 1986 and had an opportunity to talk to Eric in depth about his music. Uosikkinen's surname, by the way, is pronounced Wah-sik-in-en.

IRS Records: The Stand

Due to the passing of Richie Havens and George Jones this past week, I am a little off with my Fourth Week Label Special on I.R.S. Records. Typically, I try to feature seven records from a particular label from Sunday through Saturday; however, with the circumstances, I am adding an extra Sunday post in order to have at least six representations from the label of distinction.

Our final I.R.S. cut comes from 1983 and was an uncharting single that eventually was released on The Alarm’s LP “Declaration” as an edited version. “The Stand’s” post-apocalyptic lyrics were inspired by Stephen King’s novel with the same title.

The song was authored by Eddie MacDonald, Mike Peters, and Dave Sharp. Mike Peters sang lead and played harmonica on the tune.

George Jones: Six Foot Deep, Six Foot Down

For the second time in one week, we are suspending our Fourth Week Label Feature on I.R.S. Records due to the death of a musical superstar. Yesterday, the world lost one of the top country musicians to have ever stood in front of a microphone – George Jones. Jones, who began his career in 1954 following a stint in the U.S. Marine Corps, may have been one of the few and perhaps the only performer that had hit records for six decades.

Because of his unusual nose, Jones was nicknamed “The Possum.” He also gained the nickname “No Show Jones” because of his frequent absences at the venues where he was booked. In addition, Jones also had problems with alcohol, cocaine, and often exhibited a violent temper.

Despite his shortcomings, Jones was a revered performer. No one could turn a country tune like George; and at the right moment, he could drop his voice down to the lower register - a signature of his sound.

While today’s song may be a little irreverent, I believe this 1990 recording is fitting for the occasion. Unfortunately “Six Foot Deep, Six Foot Down” didn’t chart, as it was released at a time the country music scene was skewing younger and its sound was changing. It was the second of two singles from his “You Oughta Be Here With Me” album.

Goodbye George, and we hope you show up for the funeral, but leave the riding mower in the garage though.

IRS Records: Jeanette

I debated on whether to do this particular song, but since “Jeanette” was the flip side for The English Beat’s single “Save it For Later,” I decided to go for it. The band’s actual name was The Beat; however, trademark restrictions prevented this name being used in North America and Australia.

In North America, they were known as The English Beat and in Australia, they were The British Beat. I’m not sure of the situation in Australia, but an American band had already been using the name “The Beat.” In a turnabout, the U.S. band had to use the name The Paul Collins’ Beat outside of the U.S. In 2012, both bands untied for a tour named, “Two Beats Hearting as One.”

Despite its campy lyrics, “Jeanette” was probably my favorite tune from their third and final album, “Special Beat Service.” Although the album charted at #39 on Billboard’s Top 200 Chart, The English Beat did not get much airplay on US radio. In fact, most ska bands failed to make a mainstream dent in America. It’s a great album, and to its tribute, I used to have a poster for the album positioned on the ceiling in my bed room.

According to Dave Wakeling, Jeanette "was an archetype, but there was somebody, evidently her name was Jeanette. It wasn't a friend of mine, but a friend of somebody else's in the group who did have a Ronettes' style haircut, like a big beehive hairdo. And she was the initial inspiration for the song. But then it sort of got written about an archetype, I suppose. Sort of a rich girl that might want to hang around musicians. Like a trustafarian or something."

My favorite part of the song is the accordion parts played by session musician Jack Emblow. My second attraction to this tune was Saxa’s saxophone parts. Dave Wakeling and Ranking Roger, who both later formed General Public, provided the vocals.

IRS Records: Goo Goo Muck

Being from Pittsburgh, I remember the original version of the song “Goo Goo Muck” recorded by Ronnie Cook. It was a selection that was played by “Mad” Mike Metro on WZUM and it was one of the tunes that he found at National Record Mart in a bin of discarded 45s. NRM was the parent owner of WZUM radio.

Cook's “Goo Goo Muck” eventually made it onto one of Metro's Mad Mike's Moldies albums. I’m indebted to Jay Brooks, who was with Elektra Records for finding me a copy of the original back in the 1980s. To hear Cook’s version, see my tribute to “Mad” Mike and Goo Goo Muck from back in 2009.

In 1981, I was pleasantly surprised that The Cramps had redone the tune for their album Psychedelic Jungle. Released as a single by I.R.S. Records, the song was so different that it failed to chart – much like the original by Ronnie Cook.

The Cramps interpretation was like a marriage of Screamin’ Jay Hawkins and Gene Vincent. I love it; but, who wouldn’t love a band with members named Lux Interior, Poison Ivy, King Congo Powers, and Nick Knox. They were bravely original.

IRS Records: Our Lips Are Sealed

The first substantial hit on I.R.S. Records can be credited to the Go-Go’s and their 1981 recording of “Our Lips are Sealed.” The single was from their debut LP “Beauty and the Beat.” While it charted at #20 on the Hot 100, it did better on two divergent charts: #15 on the Mainstream Rock Tracks and #10 on the Hot Dance Club Songs. While it occasionally happened, typically there isn’t much crossover from the rock charts to the dance charts and vice versa.

“Our Lips are Sealed” was cowritten by guitarist Jane Wiedlin and the lead vocalist for the Fun Boy Three: Terry Hall. It was written while both bands were on tour in 1980 – a time when both contributors were briefly dating. The Fun Boy Three would later record the tune and release it as a single in 1983.

While the band initially hated the idea of the video for the song, it served as a vehicle to get their sound and their name to the world and served as a fitting introduction to the Go-Go’s. As with most of their songs, Belinda Carlisle sang lead; however, it is Jane Wiedlin who sings lead on the bridge.

I had a chance to interview Belinda Carlisle on the phone in late 1981 and to meet three additional members of the band when they played Kings Island near Cincinnati, Ohio in 1982. The Go-Go’s were the headliners and A Flock of Seagulls opened the show. A Flock of Seagulls were the loudest band I’ve ever heard and that is something, as it was an outside concert venue.

The band members we met at their staging trailer after the show included Wiedlin, bassist Kathy Valentine, and drummer Gina Schock. They were a little miffed that A&M Records provided us access after the show and could have been classified as prima donnas. I’ve had the opportunities to meet numerous bands and only a handful acted in this manner. Pity.

Unfortunately, I have no photos of the occasion and can’t remember why none were taken other than we didn’t take a camera to the park, but I had done so in 1978 without any difficulty.

Rest in Peace Richie Havens

We are going to interrupt our planned feature on I.R.S. Records this week due to the passing of Richie Havens. I thank some of my friends from the 1970s, Greg Rector and King Richard, for passing on to me the news of Havens' demise. I never had the opportunity to see Richie Havens live, but I did catch his Woodstock performance as recorded on film when the movie returned to the “big screen” in 1976.

Havens was a man of imposing size and with that came huge hands – when he walked out on stage at Woodstock playing as he went, he immediately made an impression. No doubt the size of his hands required him to modify his playing, which was mostly done via non-standard tunings. Live performances show him wrapping his thumb over the top of the fretboard to play open chords.


Add to this his concentration on rhythm and you have a combination for immediate live success. In 1969, he was given the opportunity to be the opening act at Woodstock. Because other artists had not arrived, he played for almost three hours. To many, this was their introduction to the guitar legend.

Unfortunately, Havens only had one hit – his remake of George Harrison’s “Here Comes the Son.” The studio version of this tune peaked at #16 in 1971. Radio stations were issued 45s that included the full length version of the song (3:43) as well as an edited version that clocked in at 2:36.  His recording of the tune was in open D. 

It took a lot of courage to release a Beatles’ classic on 45 and even gutsier for his small record label to garner a hit in the process. It was not his first Beatles single, as Havens previously had released “Rocky Raccoon” and “Lady Madonna.” Neither of the two previous Fab Four compositions charted.

Citing health reasons last year, Havens stopped touring. Yesterday, he died of a heart attack at his home in New Jersey. He was 72. Although I haven’t kept up with Havens over the years, I know the world will miss his creative genius. Thanks for the music, Richie.

Live Version from 1971

Studio Version