Showing posts with label Bill Berry. Show all posts
Showing posts with label Bill Berry. Show all posts

Tuesday, October 26, 2021

10 SONGS: 10/26/2021

10 Songs is a weekly list of ten songs that happen to be on my mind at the moment. Given my intention to usually write these on Mondays, the lists are often dominated by songs played on the previous night's edition of This Is Rock 'n' Roll Radio with Dana & Carl. The idea was inspired by Don Valentine of the essential blog I Don't Hear A Single.

The first of two editions of 10 Songs this week draws exclusively from the playlist for This Is Rock 'n' Roll Radio # 1100

THE ARMOIRES: Appalachukrainia

We are, of course, big fans of Big Stir Records, the reliable rockin' pop label run by noted beautiful people Rex Broome and Christina Bulbenko. We opened TIRnRR # 1100 with Big Stir recording artists the Brothers Steve promising "We Got The Hits," and a bit later we added Rex and Christina's own combo the Armoires and Dana's favorite Armoires track, "Appalachukrainia." I like it, too!

BILL BERRY: 1-800-Colonoscopy

Congratulations are in order, hypothetically....

Yep, it's the love theme from 2020. Bill Berry's "1-800-Colonoscopy" is from the John Wicks tribute album For The Record, a song co-written by the late John Wicks and TIRnRR's old friend Rich Rossi. It remains way, way catchier than a song with "colonoscopy" in its title has any right to be.

CHUCK BERRY: Promised Land

For as many beloved acts who have cast their benevolent influence on Dana and I, there are a handful whose impact is beyond all others. The Beatles and the Ramones are the most obvious examples, but none of what we do is possible without Chuck Berry first showing us the way. Berry and Elvis Presley are virtually tied for the title of the single most important act in the history of rock 'n' roll, and ya can't go wrong with either choice. Nothing else happens without both Chuck Berry and King Elvis I lighting the spark. This is what I wrote when Berry passed in 2017:

"It is impossible to overstate the impact of Chuck Berry. Chuck Berry didn't invent rock 'n' roll; that music and its tangled roots were already in place before he started playing his guitar like a-ringin' a bell. But Chuck Berry defined rock 'n' roll. He gave it shape and substance, depth and meaning, a resonance that transcended its roadhouse and jukebox genesis as simple party music, while still remaining simple party music. Chuck Berry invented rock's swagger, its bounce, its groove, its very identity. He crafted the words that had 'em rocking in Boston, and Pittsburgh, PA, deep in the heart of Texas, and around Frisco Bay. Sure, Chuck Berry didn't invent rock 'n' roll; he merely transformed it into the music that we now all know and love.

"In the story of rock 'n' roll, there is no one--no group or individual--more integral than Chuck Berry. No one. Not the Beatles and not the Rolling Stones, neither of whom would have even existed if not for Chuck Berry. Not Ray Charles, not Buddy Hollythe Everly BrothersBob DylanHendrixStevie Wonderthe Kinks, the Ramones, Smokey Robinsonthe Isley BrothersOtisJanisBowiePrincethe Whothe Sex PistolsLittle RichardJerry Lee LewisBo Diddleythe Beach Boys, and not anyone else you wanna try to slip into the conversation, either. Not even Elvis Presley, who would likely have the strongest claim otherwise. These are giants. These are the seemingly peerless stars who forged this music we love. Giants.

"Giants? Absolutely. Yet Chuck Berry stood above them all.

"Chuck Berry's influence rose above pop music, crossed racial and social and economic divides, and reached across generations. I discovered it second hand, via the Beatles' cover of 'Rock And Roll Music' on Beatles '65. When either WOLF-AM or WNDR-AM (or both) started playing 'Johnny B. Goode' regularly in the early '70s, I don't think I even realized it was an oldie, and I wouldn't have cared either way. I loved it, and I wanted to hear it all the time. I still do. 'Sweet Little Sixteen' 'School Day.' 'Memphis, Tennessee.' 'Let It Rock.' 'Promised Land.' So many others, so many songs that I will never tire of hearing again and again.

"John Lennon said, 'If you had to give rock 'n' roll another name, you might call it Chuck Berry.' Writer and rocker Mick Farren warned us that we should never trust a rock band that didn't know any Chuck Berry songs. Ben Vaughn notes that 'Our Shakespeare has left us.' Roll over, Beethoven; there was only one Chuck Berry: motorvatin' over the hill, campaign shoutin' like a Southern diplomat, roundin' third and headin' for home, a brown-eyed handsome man. Bye bye, Johnny, goodbye Johnny B. Goode."

"Johnny B. Goode" is one of my favorite Chuck Berry numbers, and it almost made the playlist for TIRnRR # 1100. But "Promised Land" is the greatest record ever made.

COTTON MATHER: My Before And After

When we started playing Cotton Mather's "My Before And After" in 1999, our friend Dave Murray contacted us to say it might not actually be an unreleased Beatles track but it sure sounds like one. We've played a ton of other Cotton Mather songs, from "Payday" to "The Book Of Too Late Changes" and more, but "My Before And After" will always be among the defining tracks of This Is Rock 'n' Roll Radio.

HOLLY GOLIGHTLY: Time Will Tell

We like to refer to the Kinks as our House Band. Holly Golightly's ace reading of "Time Will Tell" is one of the greatest renditions of a Ray Davies song by anyone not named "the Kinks." Holly's "Time Will Tell" merits a chapter in my long-threatened book The Greatest Record Ever Made! (Volume 1).

JEREMY: Living The Dream

Singer-songwriter-musician Jeremy Morris has released roughly, oh, a zillion albums in varying styles over a span of decades. His label JAM Recordings was the home of the first two This Is Rock 'n' Roll Radio compilation CDs, and we wanted to include Jeremy in this celebration of whatever the hell it is we do here. "Living The Dream" comes from Jeremy's 2020 album--wait for it!--Living The Dream, which also includes Jeremy's ace take on the Byrds' "So You Want To Be A Rock 'n' Roll Star." Keep living the dream, Jeremy--and thanks!

THE MUFFS: On My Own

Bill Berry's "1-800-Colonoscopy" was our second-most-played track in 2020. The Muffs' "On My Own" was # 1.

We have a long history of playing the Muffs. Dana and I played their track "Saying Goodbye" on one of our old pre-TIRnRR shows in the mid '90s, and we played it again on TIRnRR # 1 in 1998. We continued to play that and many other Muffs gems over the following decades. We were crushed when the group's leader Kim Shattuck died in 2019.

We mourned Kim's passing in the most positive way we could muster: we kept on playing her music. When the Muffs' de facto farewell album No Holiday was released in late '19, we jumped on the track "On My Own," embracing its transcendent sadness as our own. Godspeed, Kim.

THE ORION EXPERIENCE: Adrianne

If memory serves, we first heard of the Orion Experience when our pal Robbie Rist raved about their album Cosmicandy in 2007. SOLD!! "Adrianne" went on to be one of our most-played tracks that year, and its shiny pop luster is undimmed by the rigors of the decade-and-change that have passed since then. (Robbie was himself represented on this week's extravaganza as a member of the Andersons!, whose "From The Get-Go" was a shoo-in for airplay this week.)

THE PHENOMENAL CATS: Seagirl

I've been corresponding with Keith Klingensmith since the '90s, a story told here and here. Over the course of TIRnRR # 1-1099, we've played some of Keith's work with Popdudes, Chris Richards, the Slapbacks, possibly Hippodrome, and probably someone else my brain's currently hoarding in its miserly memory bank. And we've for sure played the Legal Matters, whose "Light Up The Sky" seems to be on a collision course with our 2021 year-end countdown. 

Keith's long history of airplay here began with the Phenomenal Cats. I mean, ya gotta love an act that takes its name from a track on my favorite Kinks album, The Village Green Preservation Society. I reviewed their 1996 EP Seagirl And 5 Other Dogs for Goldmine, and its title tune scored some early burn here once we started this Best Three Hours Of Radio On The Whole Friggin' Planet gig. Keith's Futureman Records imprint is also the home of the digital downloads of our TIRnRR compilations, so Gabba Gabba, one of us! Then, as now, glad to have you on the team, Keith.

THE RAMONES: Sheena Is A Punk Rocker

The American Beatles. The greatest American rock 'n' roll band of all time. The record that changed my life. And also the first song in our warmly-received 301 Songs About 301 Girls gimmick in 2011 (a gimmick which concluded with "Christi Girl" by the Flashcubes). The Ramones absolutely had to be part of This Is Rock 'n' Roll Radio # 1100. We'll look at ten more of TIRnRR # 1100's songs on Thursday.

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You can support this blog by becoming a patron on Patreon: Fund me, baby! 

This Is Rock 'n' Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock 'n' Roll Radio compilation albums are still available, each full of that rockin' pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:


Volume 1: download

Volume 2: CD or download
Volume 3: download
Volume 4: CD or download
Waterloo Sunset--Benefit For This Is Rock 'n' Roll Radio:  CD or download

I'm on Twitter @CafarelliCarl.

Tuesday, December 29, 2020

10 SONGS: 12/29/2020: THIS IS ROCK 'N' ROLL RADIO's 10 Most-Played Tracks In 2020

10 Songs is a weekly list of ten songs that happen to be on my mind at the moment. Given my intention to usually write these on Mondays, the lists are often dominated by songs played on the previous night's edition of This Is Rock 'n' Roll Radio with Dana & Carl. The idea was inspired by Don Valentine of the essential blog I Don't Hear A Single.

This edition of 10 Songs is devoted to TIRnRR's 10 most-played tracks in 2020, as detailed in our year-end countdown show.

1. THE MUFFS: On My Own

The Muffs' eponymous debut album was released in 1993, the year after the short-lived first Dana & Carl radio series We're Your Friends For Now completed its rapid Vini, Vidi, Vacuum into the abyss. By the time we returned on even more modest terms as Radio Peace in 1994, The Muffs' "Saying Goodbye" had already established itself as my favorite track of the '90s, and I'm pretty sure we played it on the very first Radio Peace. And I'm positive we played both "Saying Goodbye" and The Muffs' "Sad Tomorrow" on the inaugural edition of This Is Rock 'n' Roll Radio on December 27th, 1998. 22 years ago this week. TIRnRR has lasted a tiny bit longer than any of our previous series.

And we've played The Muffs all along the way. Before The Muffs formed, we were already fans of various incarnations of The Pandoras, and it was The Pandoras that introduced us to the talents of Kim Shattuck. Kim was an essential player during her stint as a Pandora, aiding and abetting the late, great Paula Pierce; in The Muffs, Kim Shattuck was the star.

The news of Kim's death in 2019 stunned us. This is what I wrote at the time:

Tonight we share our broken hearts.

I did not know Kim Shattuck. I've been a fan for decades, but we were, at best, casual friends on Facebook. I don't think we ever had a conversation or shared message. Yet news of her death this week at the age of 56--56!--prompted a sadness within me apart from the all-too-familiar ache of having to say goodbye to another one of our heroes.

Why? I guess because she felt to me like someone who was close to all of us, even though she wasn't really. She was an actual part of the lives of a bunch of people I do know--a friend, a loved one--and our sense of loss can't compare to what they're going through. But man, this one hurts. I didn't know her, and it hurts anyway.

You wanna see an illustration of why we love Kim Shattuck? Go to YouTube and watch the video for Derrick Anderson's "When I Was Your Man." Anderson's ably supported here by Vicki and Debbie Peterson (his bandmates in The Bangles) and our Kim. The song and video are irresistible, but Kim especially? She's a bundle of goofy, guileless energy, a nerd and a rock star at the same time, naturally, unconsciously, absolutely. She's not exactly one of us, but she understands us. I refuse to change that into the past tense, at least for tonight.

The Pandoras. The Muffs. The Beards. The Coolies. And one of the greatest screams in all of  rock 'n' roll. All heart, all fire, all go! Kim Shattuck made her indelible mark on this rockin' pop scene we so cherish. Anyone who didn't love her simply wasn't paying attention.

56 years old. Damn you, ALS. Damn you.

The Muffs' farewell album No Holiday was released shortly after Kim passed. Both Dana and I were especially struck by the track "On My Own," its inherent haunting sensation heightened in our ears by the knowledge that Kim was nearing the end of her life when she sang it. 

I can't even.

TIRnRR started playing "On My Own" upon its release in late '19. We continued to play it throughout this year, more often than we played any other song. There was never any question of what would be our # 1 most-played track for 2020. It wasn't even close. God love ya, Kim. We'll always love you, too.

2. BILL BERRY: 1-800-Colonoscopy

I saw the wonderful British pop group The Records at a club show in East Syracuse in 1979. "Starry Eyes." "Teenarama." "Hearts In Her Eyes." "Hearts Will Be Broken." SOLD! I got to meet lead singer John Wicks in 2009, when he was touring with Paul Collins. John was one of the nicest, most gracious pop stars you could imagine, and he remained friendly and good-natured in all of our subsequent communications. We were gutted when John succumbed to cancer in 2018.

Our mutual friend Richard Rossi gets the credit for connecting John (and Paul) with TIRnRR. Back in 2006, Richard secured permission for us to use "Edges Of A Dream" by John Wicks and the Records for our compilation CD This Is Rock 'n' Roll Radio, Volume 2, and he arranged for John and Paul to visit our mutant little radio show in 2009; it was a thrill for Dana and I to meet these artists who made so much music we love, and a righteous OH YEAH! to find out they were both good guys, to boot. 

John Wicks, CC, Paul Collins, Dana Bonn at the TIRnRR studio complex in 2009. 

After John's death, Richard oversaw a unique project in tribute to his departed friend. The 2020 collection For The Record--A Tribute To John Wicks gathers various artists to perform songs that John had written but never got around to recording. It's a simply sublime set, and we recommend it in unabashedly gushing tones. We played nearly all of its tracks on TIRnRR this year.

We played Bill Berry's "1-800-Colonoscopy" the most. The song was co-written by John Wicks and Richard Rossi, and it appears on For The Record as an endlessly engaging track sung by Bill Berry and produced by Jamie Hoover of The Spongetones. In an earlier 10 Songs, I wrote: 

Awright, the category of "Best Songs With 'Colonoscopy' In The Title" may be a wee bit limited, but man, this track from the recent John Wicks tribute album For The Record just rollicks and rolls. Bill Berry's performance infuses the song with all the venom and resentment it requires, delivering a bitter and vindictive kiss-off that's simultaneously as pop and as catchy as something, I dunno, more pleasant than its titular concern....

Given the general yuchh of 2020, it's fitting that my favorite new song of the year is something called "1-800-Colonoscopy." Am I bitter? Yeah, you bet your ass.

3. MARY LOU LORD: Right On 'Till Dawn

"Right On 'Till Dawn" is a kickin' duet between Mary Lou Lord and the song's author, Nick Saloman of The Bevis Frond. It's a demo, released as one of two B-side tracks on Mary Lou's 2001 "Speeding Motorcycle" single. (The other B-side, "Driven Away," also made this year's countdown at # 27.) 

4. MARYKATE O'NEIL: I'm Ready For My Luck To Turn Around

Belief feeds hope.

That's the opening line to a chapter about Marykate O'Neil's lovely 2006 gem "I'm Ready For My Luck To Turn Around." I'm writing that chapter for my book in progress The Greatest Record Ever Made! (Volume 1), and the song's entry appears near the end of the book, nestled between Stevie Wonder's "I Believe (When I Fall In Love It Will Be Forever)" and Eytan Mirsky's "This Year's Gonna Be Our Year." "I'm Ready For My Luck To Turn Around." That's a sentiment we can all understand, especially this year.

5. BASH AND POP: Anything Could Happen

Tommy Stinson formed Bash And Pop after his previous group The Replacements combusted into charred earth. A whompin' stompin' 22 years passed between Bash And Pop's debut album in 1993 and second album, 2017's Anything Could Happen. Man, and The Replacements always used to be so punctual.

6. JUSTINE AND THE UNCLEAN: Vengeance



Rock 'n' roll at a honky tonk kegger. I don't think I was at all familiar with the kickass charm of singer/songwriter/guitarist/suspected superhero Justine Covault prior to this year. Hey, something good about 2020! The mighty Rum Bar Records sent us new tracks from two of Justine's combos, Justine's Black Threads and Justine and the Unclean. BAM! Instant fan here. "Vengeance" is particularly irresistible, so I played it a lot. That's the giddy sense of power one enjoys if one co-hosts a radio show. 

7. THE WHO: I Can't Explain

From The Greatest Record Ever Made! (Volume 1):

When it came to crafting The Greatest Record Ever Made, The Who didn't waste any time. The lads nailed it on their debut single.

Well, "I Can't Explain" was at least technically The Who's first single. The group was billed as The High Numbers when their very first single "I'm The Face"/"Zoot Suit" was released in 1964. Either way, The High-Numbered Who got it right pretty quickly. "I Can't Explain" was released at the beginning of 1965, effectively helping to kick off pop music's best year ever...

Before The Who became iconic, rivaling Led Zeppelin as the embodiment of classic rock, they were already an odd quartet. Drummer Keith Moon was a flamboyant freakin' lunatic, a strange visitor from another planet, a Beach Boys fanatic who played faster--and louder!--than a speeding bullet. Bassist John Entwistle could have found employment as a statue, a sculpted objet d'art, his deep booms resonating from a somber figure as still as stone, except for the blinding flash of his fingers upon the fretboard of an instrument no one ever convinced him wasn't meant to play lead, not rhythm. Singer Roger Daltrey, eventually to assume the persona of a presumed Rock God parading before mere mortals, seemed initially like he'd just as soon abandon his mic stand to pick a fight with some punter mid-song, just cuz he didn't like the guy's face. And guitarist/songwriter Pete Townshend was the squarest of square pegs, a nose emerging from a face topped by straight Mod hair, propped atop a skinny form that should have been incapable of remaining upright under the weight of that head, tossing off a surly bravado to camouflage insecurity, playing power-chord noise to give sheer volume to thought and poetry, smashing things to combine chaos with ambition, combustion with creation, destruction with inspiration. Together, they formed a rhetorical question that served as its own authoritative answer. Who? The Who. The fucking Who, man....

8. THE ISLEY BROTHERS: It's Your Thing

I wrote here about my introduction to the music of The Isley Brothers. Although my nascent Isleys awareness began with "Who's That Lady (Part 1)" on the radio in '73, I don't remember precisely when I went back to discover earlier Isley Brothers hits like "This Old Heart Of Mine," "Shout," or 1969's "It's Your Thing." It took a while, and it took a while for my appreciation to grow. But it did! 

9. BIG STAR: September Gurls

I think Big Star's "September Gurls" was the first song I ever referred to as The Greatest Record Ever Made, and it is the all-time # 1 most-played track over TIRnRR's first 22 years. From its chapter in the GREM! book:

The heart is often incapable of speaking its own mind. Please forgive the mixed metaphor, because it's true: on an emotional level, the thing that is most important to us is the most difficult to articulate.  If  you were ever a teenager in love, you know this first-hand; and if, at any age, you have watched a love slip away--casually or cruelly, by accident or design, temporarily or irrevocably--then you still remember the ache of your tongue-tied efforts to somehow express the poetry inside you, to give voice to the exact words that, when spoken, will make True Love prevail against unbelievable odds.  So many words, so much to say.  And all we can do as she walks away is mumble, "I loved you, well...never mind."

With that phrase, Alex Chilton turned even our seeming helplessness into art.  A teenaged hitmaker with The Box Tops, a cult-pop legend with Big Star, and a fiercely (and frustratingly) independent solo artist, Alex Chilton was dismissive of his own legacy.  But he was a brilliant songwriter, responsible in whole or in part for a handful of what I believe to be among the most affecting, beautiful pop songs ever done.  With his Big Star partner Chris Bell, Chilton co-wrote "The Ballad Of El Goodo," the single most transcendent expression of triumphant hope that I am ever likely to hear; their song "Thirteen" found the elusive words to articulate adolescence as no other song before or since.  And Chilton's "September Gurls," perhaps the greatest record ever made, is with me every day of my life, its haunting mix of longing and possibility providing a constant reminder of the heart's struggle to speak its mind, and of the artist's ability to turn the struggle itself into unforgettable, eloquent elegance.
  

10. THE BEVIS FROND: He'd Be A Diamond

And this week's 10 Songs concludes with one more shot from that GREM! book I keep pounding:

What a truly awful feeling: that sick, twisted ache inside when we realize we've screwed things up beyond any possible hope of redemption...

And we know every last miserable bit of it is our own stupid fault.

I discovered the music of British singer, musician, and songwriter Nick Saloman (dba The Bevis Frond) through the Dana half of This Is Rock 'n' Roll Radio with Dana & Carl. The Bevis Frond did a benefit for our overlords Syracuse Community Radio in the '90s, and the Frond's been a perennial TIRnRR pick over the two decades and change of whatever the hell it is we do. 

"He'd Be A Diamond" is the most powerful post-breakup song I know. Its heartbroken storyline is devastating, delivered casually in the third person, but no less harrowing, no less desperate, no less striking in its depiction of a faithless ex-lover who has seen the error of his ways far too late to make one damned bit of difference....


TIP THE BLOGGER: CC's Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 

This Is Rock 'n' Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.


The many fine This Is Rock 'n' Roll Radio compilation albums are still available, each full of that rockin' pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:


Volume 1: download

Volume 2: CD or download
Volume 3: download
Volume 4: CD or download
Waterloo Sunset--Benefit For This Is Rock 'n' Roll Radio:  CD or download

Carl's writin' a book! The Greatest Record Ever Made! (Volume 1)will contain 165 essays about 165 tracks, each one of 'em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1). My weekly Greatest Record Ever Made! video rants can be seen in my GREM! YouTube playlist. And I'm on Twitter @CafarelliCarl.

Tuesday, September 29, 2020

10 SONGS: 9/29/2020

10 Songs is a weekly list of ten songs that happen to be on my mind at the moment. Given my intention to usually write these on Mondays, the lists are often dominated by songs played on the previous night's edition of This Is Rock 'n' Roll Radio with Dana & Carl. The idea was inspired by Don Valentine of the essential blog I Don't Hear A Single.


This week's edition of 10 Songs draws exclusively from the playlist for This Is Rock 'n' Roll Radio # 1044.

THE FLASHCUBES: Got No Mind/Dizzy Miss Lizzy

Got got got no mind/Got got got no mind/Got got got no mind/Got no mind, and I don't mind!

I know I'm not unique in this, but my frustration meter has been reaching its percolatin' point a lot lately. I'm okay at the moment, but I was particularly irate 'n' agity last Tuesday. So Tuesday night, when Dana called me for the weekly ritual slappin' together of the remote-programmed playlist for this week's show, my simmering sense of ineffectual fury (and its corresponding desire to break stuff) prompted me to wanna open with something angry. The Flashcubes. We would open with The Flashcubes.

Given The Flashcubes' well-deserved reputation as Syracuse's own power pop powerhouse, "angry" might not be the first adjective one might choose to apply to their invigorating brand of Cubic pop music. But The Flashcubes began as a punk band in '77, and while they transcended that label in short order, the essential cantankerousness of The Sex Pistols and The New York Dolls was as much a part of their rock 'n' roll DNA as the hook-friendly influence of popmeisters Badfinger and The Raspberries. I didn't mind; I loved all of it, and I still do.

Open angry. 'Cubes guitarist Paul Armstrong's "Got No Mind" channels the psycho therapy of The Ramones' "Teenage Lobotomy" to bludgeon out its own surly message of Fuck THIS. Open angry? Pretty soon, I'll be set to vote angry as well. For right now, a spin of "Got No Mind" serves up the necessary dose of righteously pissed-off catharsis.

In 1978, basement demos of "Got No Mind" and Gary Frenay's "Guernica" formed the incongruous B-side to The Flashcubes' first single, topped by Arty Lenin's pretty pop ballad "Christi Girl." A 1979 live version of "Got No Mind," recorded at my favorite lost local nightspot The Firebarn, eventually appeared on The Flashcubes' CD anthology Bright Lights. On the CD, the track fades out just as the 'Cubes are launching into a ferocious rendition of the Larry Williams/Beatles classic "Dizzy Miss Lizzy." For this week's show, we played the whole (slightly) extended thing, released and unreleased, punk meets pop, I got no mind 'cuz ya make me dizzy Miss Lizzy. It's cool. I don't mind.

BILL BERRY: 1-800-Colonoscopy

Having already opened angry, a bit later in the show I also wanted to play the one 2020 track with the title that best summarizes this misbegotten year. Easy choice: "1-800-Colonoscopy" by Bill Berry, from the John Wicks tribute album For The Record. Am I bitter? Yeah, you bet your ass.

THE BROTHERS STEVE: Beat Generation Poet Turned Assassin [abridged]

# 1, the supersnazzy debut album from The Brothers Steve, gave us "We Got The Hits," one of TIRnRR's most-played tracks in 2019. # 1 also includes the unabridged version of the group's current Big Stir Records single, "Beat Generation Poet Turned Assassin," and this week we decided to play the single version. The abridged version. Which, of course, is longer than the unabridged version, because--wait for it--IT ADDS A BRIDGE! Duh. Fantastic in either version.

ELVIS COSTELLO AND THE ATTRACTIONS: You Belong To Me

I saw Elvis Costello and the Attractions at a disastrous on-campus gig in the spring of '78, my freshman year at Brockport. The show occurred shortly before the release of This Year's Model, Costello's first album with The Attractions. The only Costello music I knew at the time would have been the songs on his first album My Aim Is True (plus "Radio, Radio," which we'd all seen EC & the As perform on Saturday Night Live). I don't recall if the beleaguered combo performed "You Belong To Me" that night.

But regardless of whether or not I heard the song played in the ballroom at Brockport, I do know that my first exposure to the song did not come via the LP version. After the live show but before I heard or owned This Year's Model, I had a Costello bootleg called 50,000,000 Elvis Fans Can't Be Wrong. My favorite track on that boot was a live version of "You Belong To Me," which I recall as much more spare than the studio track (which wasn't exactly Pet Sounds to begin with). My copy of that bootleg is long gone, but if I recall correctly, the live "You Belong To Me" wasn't dominated by Steve Naive's "Batman Theme"-inspired keyboard lick the way the This Year's Model "You Belong To Me" is. In fact, it was jarring for me when I finally heard the official cut on This Year's Model. I got used to it, and came to love it. "Batman Theme" and all.

DAWN: Knock Three Times

Oh, I love this song. People are sometimes surprised to hear me say that, but both "Knock Three Times" and "Candida" are stirring examples of AM radio pop songcraft circa '70 and '71. Though both singles were credited to Dawn, they predate Telma Hopkins and Joyce Vincent Wilson joining lead singer Tony Orlando; the singles feature Orlando and other studio singers, with the "Dawn" designation applied because the baby needed a name. I don't like anything else Dawn did after that. I don't mean this as a knock against Hopkins and Wilson; they were talented singers, and Dawn's subsequent stylistic shift wasn't their fault.

(If it could even be called a shift; "Candida" and "Knock Three Times" were inoffensive radio fodder, and one could [I guess] say the same of "Tie A Yellow Ribbon Round The Ole Oak Tree." I dig the former; I have no use for the latter.)

EDDIE AND THE HOT RODS: Do Anything You Wanna Do

"Do Anything You Wanna Do" is an incomparable power pop record, with a liberating message meant to be accompanied by raised fists and glasses in juke joints the world over. Its message is a simple clarion call for rock 'n' roll's most basic promise: Freedom. Possibilities. Chuck Berry should approve.

'70s punk grew in part out of a repudiation of the hippie ethos, yet the two opposing notions shared more than either faction would have admitted at the time. The punks cried "Anarchy!," the hippies insisted "Make love, not war," but each professed to reject the rules of societal conformity. Perhaps they created their own conformities along the way. But each was doing its own thing. The hippies said, "If it feels good, do it." The punks prized the practice of DIY. And in 1977, a British group swept up in (at least) punk's periphery crafted a rallying cry: Do Anything You Wanna Do.

The origin and roots of Eddie and the Hot Rods slightly predate our notion of British punk, but they were nonetheless a part of that scene initially. Eddie and the Hot Rods thrived in that melting point where pub rock became punk, and whatever they lacked in spit and venom should be shrugged aside in an imperious flurry of sweat and volume, as the dancers do what the dancers do.

THE GO-GO'S: We Got The Beat

"We Got The Beat" by The Go-Go's will always be one of my favorite songs, but I vacillate between which of two versions I prefer. I've come to gravitate more to the familiar 1982 U.S. hit single and Beauty And The Beat album track, but there is much to be said on behalf of the group's original 1980 Stiff Records 45. The Stiff version has a bit more indie vibe, and it has the backing counter-point answer vocals (But they're walking in time [They're walking in time]) that I still miss hearing on the American remake. On the other hand, the made-in-the-U.S.A. take has that intoxicating, swoon-worthy radio pop sheen, and it adds Belinda Carlisle's spirited testimonial at the end (Everybody get on your feet/We know you can dance to the beat...). Can't go wrong either way. We played the Stiff version this week.

GLADYS KNIGHT AND THE PIPS: If I Were Your Woman

You're like a diamond, but she treats you like glass. Gladys Knight and the Pips have a story to tell.

"If I Were Your Woman" explores the familiar storyline of an interested outsider observing a dysfunctional relationship and wishing he or she could make it right (and, in so doing, earn the prize of love personally). Specifically, our hero sees the spiral of deceit and recrimination playing out before his/her eyes, knows which side is at fault, and wants to replace the faithless nogoodnik and become the redemptive lover the abused party deserves. While the singer covets a neighbor's mate, desire is informed by compassion, concern, empathy. The message to the cherished one is straightforward and true: You can have something better than what you have. I would be better. I could bring you the happiness you deserve.

Many of us have been there, from one POV or another. In some stories we are the victim, in some we are the villain. In our best dreams, we are the hero.

In some stories, though, the potential hero does not take action; Lesley Gore in "She's A Fool," Frankie Valli (and later The Tremeloes) in "Silence Is Golden," they're all passive observers. In "If I Were Your Woman," Gladys Knight engages. She speaks. She pleads. She testifies. Maybe she'll get through to the big lug, and rescue him. She could be the hero, his real hero, if she were his woman.

NIKKI AND THE CORVETTES: He's A Mover

The first Nikki and the Corvettes song I ever heard was "Just What I Need," which was on Bomp Records' incredible 1980 double-album label compilation Experiments In Destiny. I also saw photos and coverage of the group in Bomp! magazine, and was well primed to pick up their eponymous album. "He's A Mover" quickly became my favorite, as it effortlessly evoked the folk-bop bounce of The Monkees, particularly of Monkees written by Neil Diamond. Look out, here come the Corvettes. I'm a believer!

IRENE PEÑA: The Summer Place

Is Irene Peña America's Sweetheart? She is if This Is Rock 'n' Roll Radio says she is, and [ahem] This Is Rock 'n' Roll Radio says she is. See, there it is in print and everything. We've been on the Peña train since late 2016 (a tale told in greater detail right here), and our show is better for it. Irene's latest digital single from the good folks at Big Stir Records serves up a winning pair of exquisite Fountains Of Wayne covers, "It Must Be Summer"/"The Summer Place." Both tracks offer sincere tribute to the late Adam Schlesinger, and they rock the house from here to Hackensack. Our pal John Borack keeps the time on them Pagan skins, Jeff Colchamiro, Ron Allen, and America's Sweetheart's own sweetheart Steve Zeilman add six-, six-, and four-string magic respectively, and Irene Peña runs the show like a sweetheart oughtta. Did we say magic? We'll say it again: magic. Summer's gone. Magic remains. Sweet.

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This Is Rock 'n' Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.


The many fine This Is Rock 'n' Roll Radio compilation albums are still available, each full of that rockin' pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:


Volume 1: download

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Volume 3: download
Volume 4: CD or download
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Carl's writin' a book! The Greatest Record Ever Made! (Volume 1)will contain 165 essays about 165 tracks, each one of 'em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).