Showing posts with label Dawn. Show all posts
Showing posts with label Dawn. Show all posts

Tuesday, March 23, 2021

10 SONGS: 3/23/2021

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.

This week's edition of 10 Songs draws exclusively from the playlist for This Is Rock 'n' Roll Radio # 1069.

THE CHAMBERS BROTHERS: All Strung Out Over You

The Chambers Brothers are one-hit wonders, but man, what a hit that was. Their 1968 smash "Time Has Come Today" is a freakin' wall of rock and soul, and I'm probably going to add it to my ever-forthcoming book The Greatest Record Ever Made! (Volume 1). I haven't listened to the full eleven-minute version in far too long, but I owe myself that pleasure in the near future. Even the single version is a bit lengthy at nearly five minutes, but it's five minutes well spent. TIME!! The Ramones did an incredible cover of the song in the early '80s; even they couldn't improve on the original.

As is often the case with one-hit wonders, The Chambers Brothers cut more good stuff beyond the solitary Chosen One everyone knows. I've begun a casual dive into some of that recently, picking up both a CD best-of set and an expanded CD reissue of the group's The Time Has Come album. "All Strung Out Over You" was a single off that LP, a great track that only charted regionally. It deserved better.

THE CLICK BEETLES: If Not Now Then When 

The Click Beetles' "If Not Now Then When" made its CD and digital debut on the 2019 compilation Waterloo Sunset-Benefit For TIR'N'RR, and subsequently appeared on the combo's groovyfine 2020 album Pop Fossil. Click Beetles CEO Dan Pavelich is a long-time friend of TIRnRR, and Dana and I are fans. Dan also runs the pop culture website Pop-A-Looza.

And he's a cartoonist and graphic artist of some note; he designed the eye-catching look of Allan Kaplon's new CD Notes On A Napkin, a release you'll hear on next week's exciting edition of our little mutant radio show. Dan is currently offering to craft an individual caricature for folks interested in glitzin' up the ol' on-line avatar, all for a mere five bucks. Good deal, I'm doing it, and you should oughtta do it, too: DRAW!!! If not now, then when?

DAWN: Candida

I have often mentioned that the summer and fall of 1970 was when I really began listening to AM Top 40 radio in earnest. Well, actually it was in my bedroom, which I guess we could name "Earnest" to simplify the narrative. Earnest and I may (or may not) have missed Dawn's first big hit "Candida" that summer; we certainly heard follow-up hit "Knock Three Times," and were duly smitten. More than five decades later, I still love both "Candida" and "Knock Three Times," and they are the only Dawn tracks that mean anything to me.

(I can't speak for Earnest's opinion of Dawn at this late date. He never writes, he never calls....)

ARETHA FRANKLIN: Chain Of Fools

I'm looking forward to seeing National Geographic's new four-part biopic of Aretha Franklin, but I'd actually forgotten about that when Dana and I were hammerin' out this week's playlist. It wasn't even a case of Because my iPod said so!, a process which influences many of my song choices (because what could be more pleasantly powerful than the music you hear while you're driving?). No, "Chain Of Fools" just popped into my head, I realized it had been quite a while since it last appeared on the show, so, inevitably, Chain-chain-chaaaaaain!

GOSPEL SWAMPS: Great Distances

Ooo--a MYSTERY band! Like Jack, Doc, and Reggie before me, I love a mystery. You can read the story so far (and buy the single) here. But even if we solve the puzzle, nothing can be revealed until April. It's okay. It will be worth the wait.

THE GREAT OUTDOORS: Day Job

"Don't quit your day job."

It's good, practical advice. As one pursues creative vision and dreams, it's important to have food to eat, a place to sleep, and sufficient reading light. Plus, y'know, decent internet.

But the dull phrase Don't quit your day job is usually tossed around as a put-down by simpletons who don't want you to dream. They don't want you to sing. They don't want you to act. They don't want you to do, to write, or paint, or attempt anything larger than the stuffy limitations of their stunted imaginations, their 2D world view. Swine. They deserve a variety of two-word replies each time they utter their witless witticism.

"Day Job" by The Great Outdoors offers what may be the first positive use of the phrase. (Early '80s Syracuse pop icons The Tearjerkers had a song called "Don't Quit Your Day Job," and I betcha that was aces, too, but I only heard it once in a bar, and you know what a great combination beer and memory make.) The Great Outdoors includes bassist and longtime TIRnRR Fave Rave Teresa Cowles, the song has a cool video, and it's as catchy as cooties, in a good way. And its implied message is self-effacing but affirming: don't quit your day job, fine, but keep on doing. The future is as wide as the great outdoors.

KID GULLIVER: Forget About Him

A spin of Kid Gulliver's fabulous "Forget About Him" on this week's show marks the 19th consecutive TIRnRR to include at least one track with a lead vocal by Simone Berk. It's not a TIRnRR record or anything--one presumes Ray Davies, John Lennon, Paul McCartney, and Joey Ramone could edge it--but it is evidence of our ongoing Berkmania. Simone made her TIRnRR debut on July 5th of 2020, fronting WhistleStop Rock's "Queen Of The Drive-In." We played that and a bit of Kid Gulliver over the course of subsequent weeks. But it was Kid Gulliver's "Forget About Him" that kicked off this current streak on November 15th, a Berk barrage also maintained by Kid Gulliver's recent single "Beauty School Dropout," WhistleStop Rock, Sugar Snow, and Berek/Lehane. "Forget About Him:" is our favorite. Berkmania! Let's make it 20 in a row next week.

Carl's back!

THE MONKEES: When Love Comes Knockin' (At Your Door)

Our immersion in the music we love builds ongoing reference points that (happily!) linger on and on. If the radio plays a song we remember from some cherished, decades-old mixtape, our brains momentarily fool us into expecting the next song on the radio to be whatever followed on that long-gone cassette. The connection is intrinsic, instinctive, and intimate. They're not just songs; they're parts of our lives.

When I hear The Monkees' "When Love Comes Knockin' (At Your Door)." I expect the track to skip. All apologies to Carly Simon, but that's the way I've always heard it should be. My brother's copy of More Of The Monkees had a persistent whoopsie! in that song's first verse, causing our starry-eyed singer Davy Jones to render the line So little girl now don't you run and hide as So little girl now don't you ru-ide

"When Love Comes Knockin' (At Your Door)" was written by Neil Sedaka and Carole Bayer, and while it's not anywhere near one of my top 25 Monkees tracks, it is by default my favorite Sedaka song. I was never much into Sedaka; with the exception of his Elton John collaboration "Bad Blood," I didn't like most of Sedaka's mid '70s comeback hits, and I didn't like The Captain And Tennille's ubiquitous Sedaka-penned "Love Will Keep Us Together." I kinda liked "Breaking Up Is Hard To Do" as a '60s oldie, but despised Sedaka's mature cocktail-lounge hit remake. Yeah, when it comes to skipping records, I would rather skip that one entirely. 

But The Monkees? We never skip The Monkees. No need to ru-ide. I've got quarters to set atop the stylus, and the will to use them.

TODD RUNDGREN: Couldn't I Just Tell You

From the Todd Rundgren/"Couldn't I Just Tell You" chapter in my book The Greatest Record Ever Made! (Volume 1):

"This is an example of the latest musical trend. It's called power pop.

"It was 1978. The band Utopia was appearing on The Mike Douglas Show. The song that Utopia's front man Todd Rundgren introduced as "the latest musical trend" was practically a golden oldie, a track Rundgren had recorded and released much earlier in the decade, on his 1972 album Something/Anything? The song "Couldn't I Just Tell You had not been a hit, its 1972 single release barely making it into the Hot 100, peaking at # 93 with an anchor. For Rundgren to refer to this six-year-old song as the latest...anything could have only been an example of the prickly performer sneering haughtily at trendy hipsters, hip trendsters, and, one supposes, anyone who liked pop music. Yeah, screw them.

"Wait, wait! 'Anyone who liked pop music?' That's me he was sneering at, damn it! Oh, the humanity...!

"But I didn't care. God, it was such a great song. Seeing it performed on TV asserted the song's hold on me, a hold that was already there, but which tightened its grip securely and permanently with this televised faux embrace of the latest musical trend. Power pop. Suits me just fine...."

THE TEMPTATIONS: My Girl

This Is Rock 'n' Roll Radio playlists are constructed in large part on impulse. Feel. What songs feels right after the song we just played? It's informed alchemy in action, and it may not make sense on paper; a set that opens with the engaging homespun pop of Mike Browning, segues into the Central New York Americana of Harmonic Dirt, and follows with the essential Motown sound of The Temptations, the alt-rock of Hole, and a 1-2 shot of power pop from The Bay City Rollers and The Flashcubes might suggest we're messin' with you. 

But we're not. It's ALL pop music. This stuff sounds wonderful together. And one never needs to justify playing The Temptations.

From a previous post about definitive jukebox singles: "'My Girl' is immortal, and perhaps the definitive Motown single. It's furthermore the sort of pervasive classic that is always lying somewhere near the surface of your subconscious, a tune you might not think anyone ever actually wrote, but which must instead have been passed down from generation to generation."

The folks songs of our native land. Sunshine on a cloudy day. So much honey the bees envy me. It's all pop music. That's why we love it.

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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

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

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).