Showing posts with label Joey Molland. Show all posts
Showing posts with label Joey Molland. Show all posts

Saturday, March 15, 2025

10 SONGS: 3/15/2025

10 Songs is a weekly list of ten songs that happen to be on my mind at the moment. The lists are usually dominated by songs played on the previous Sunday 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 # 1276

DAVID JOHANSEN: Cool Metro
BADFINGER: Got To Get Out Of Here

About two weeks ago, I received an email from my long-time pal Beth informing me of the death of David Johansen. As a solo artist and as the lead singer of the New York Dolls, Johansen's work was of enormous importance to me. Beth had a reasonable (and correct) expectation that TIRnRR would be paying tribute to Johansen at our earliest opportunity, and I immediately set to work sketching out a blueprint for that very thing.

The next day, we learned that Badfinger guitarist Joey Molland had also passed. Badfinger's "Baby Blue" is THE # 1 song on my all-time Hot 100; it was the subject of my very first Greatest Record Ever Made! essay, which was subsequently an important early chapter in my book The Greatest Record Ever Made! (Volume 1). Given this radio show's affectionate debt to the Dolls and Badfinger, it seemed imperative for us to attempt proper tributes to both Johansen and Molland.

We opened this week's program with "Cool Metro," a track from Johansen's first solo album. The song was co-written by David Jo and former Dolls guitarist Sylvain Sylvain, it sounds like it could have been a Dolls song, and it was also the designated opening salvo in the David Johansen Group's live shows in the late '70s. There could be no other selection to kick things off for us here.

We made an early decision to place less emphasis on Badfinger's best-known material. Molland had not yet joined Badfinger when they recorded their first hit (the Paul McCartney-penned "Come And Get It"), and the other hits--"Baby Blue," "No Matter What," and "Day After Day," plus the oft-covered LP track "Without You"--were all written by the group's other guitarist, Pete Ham. We threw in one of the hits at show's end, but our other three Badfinger picks--"Got To Get Out Of Here," "Love Is Easy," and "Love Is Gonna Come At Last"--were written by Molland. "Got To Get Out Of Here" (from the group's 1974 album Wish You Were Here) was the first such track to pop into my mind, and it's a good one. I didn't score a copy of Wish You Were Here until many years after the fact, so my introduction to "Got To Get Out Of Here" came via Rhino Records' 1990 compilation The Best Of Badfinger Volume II. Very cool track, regardless of how one gets to it.

NATURAL GAS: I've Been Waitin'


Prior to assembling potential tracks for our salute to Joey Molland, I was not at all familiar with Natural Gas, the group Molland joined after leaving Badfinger. The band's name practically plods with period AOR anonymity, but their lone album from 1976 is pretty good, and Molland's "I've Been Waitin'" offers a very nice slice of '70s heavy rockin' pop.

JOEY MOLLAND: Rainy Day Man

Joey Molland's final solo album Be True To Yourself was released in 2020, and it was and remains such an agreeably pop record, Beatley and Badfingery without pandering or nostalgia-mongering. We were immediately drawn to its track "Rainy Day Man," and if that wasn't the single it should have been. Gorgeous.

DAVID JOHANSEN: Frenchette

The Greatest Record Ever Made!

JOEY MOLLAND: You Make Me Sick

"You Make Me Sick" was a track on Joey Molland's 1992 album The Pilgrim, which I reviewed an approximate million years ago when I was a freelance writer for Goldmine magazine:

"While the world waits for the remainder of the Badfinger catalog to finally see reissue, former 'Finger Joey Molland returns with his first solo album in ages. Casual Badfinger fans may not be blown away by The Pilgrim, but more serious fans will take cautious delight in this long-awaited work.

"The album opens with its most aggressive track, the anti-Gulf War 'You Make Me Sick.' Subsequent tracks vary stylistically from the ballad 'No One Likes The Rain' to 'Your Eyes,' a rocker reminiscent of Nick Lowe. 'Vampire Wedding' dips into Anne Rice territory, while 'All The Way' (the album's original title track) simply drones on for too long.

"It's somewhat surprising to note that each track retains an indefinable but unmistakable Apple flavor--the songs sound of a piece, not only with Badfinger's now-classic recordings for the Apple label, but also with work by former label mate Jackie Lomax. This may be attributed to a critic's overactive imagination, but the Apple sound (if there is such a thing) is definitely still in the grooves for Molland.

"We'd like to say that the material here rivals Badfinger hits like 'Baby Blue' and 'No Matter What,' but that would be stretching the truth to the point of, well, outright lying. Molland is not the late Pete Ham, and we wouldn't even bother with the comparison if the Rock Critics' Code didn't specifically require that the current work of former Apple artists be constantly contrasted with their work of over 20 years ago. Sorry, but them's union rules.

"Really, Molland shouldn't need to rely on past glories. The fact that he didn't go for the easy name recognition and release this as an album by Joey Molland's Badfinger (the name under which he tours) is admirable, and makes the point that it's time to treat Molland as the solo artist he is. For Badfinger fans, The Pilgrim builds successfully upon Molland's previous work. For novices, this is as good a place as any to start. Come and get it."

Shortly before the release of Be True To Yourself in 2020, Dana pulled out "You Make Me Sick" for a spin, prompting me to write:

"We're looking forward to former Badfinger guitarist Joey Molland's new album Be True To Yourself, which is due out in October, and which features support from the likes of Micky Dolenz, Julian Lennon, Mark Hudson, and more. While we're waiting, Dana programmed this antiwar track from Molland's 1992 album The Pilgrim for our listening pleasure. I reviewed The Pilgrim for Goldmine when it was released, but I hadn't heard the song in years. It holds up, and I'm eager to hear Joey's new stuff."

THE DAVID JOHANSEN GROUP: Babylon

As noted somewhere up above, David Johansen and Sylvain Sylvain continued to work together for a bit after the demise of the Dolls. Sylvain was an early member of the David Johansen Group; he had moved on from that band before I got to see them in the summer of '79, but he's on this 1978 live recording, which was finally released in 1993 as The David Johansen Group Live.

And you know who else is on it? The Dolls' other guitarist, Johnny Thunders, called up from the audience by Johansen (Hey, JT! Why don'tcha come up an' do a number wid us?) in what was presumably a planned reunion but feels as gloriously chaotic as it woulda felt as mere happenstance. So we have 3/5 of the Dolls--a quorum!--assembled like grungy Avengers for a run-through of the Dolls' "Babylon." Come ON, boys!

MEDLEY:
THE NEW YORK DOLLS: Personality Crisis/
BUSTER POINDEXTER AND HIS BANSHEES OF BLUE: Hot Hot Hot

Like Johansen's "Frenchette," the Dolls' "Personality Crisis" is also The Greatest Record Ever Made! An infinite number, man, and TIRnRR has been qualifying the absolute since 1998. If I ever do another Greatest Record Ever Made! book, it will probably include my "Personality Crisis" and "Frenchette" chapters placed together in sequence.

The natural pause in "Personality Crisis" invites the addition of some other song smack dab in its middle, inserted right before Johansen cries, And yo' a prima ballerina on a spring afternoon! The first time I saw the David Johansen Group in '79, they performed "Personality Crisis" as a medley with Donna Summer's rock number "Hot Stuff." For TIRnRR's tribute to DJ, I wanted to edit in "Hot Hot Hot," the signature tune by Johansen's swingin' alter ego Buster Poindexter. A personality crisis! 

BADFINGER: No Matter What

Our salute to David Johansen gathered four tracks apiece by the Dolls and DJ solo, two by the David Johansen Group, Johansen's duet with Robin Johnson for the soundtrack of Times Square, and Buster Poindexter's "Hot Hot Hot." For our Joey, we offered four apiece by Badfinger and Joey Molland solo, one by Natural Gas, examples of his guest appearances with John and Mary, George Harrison, and John Lennon, and we threw in Paranoid Lovesick's cover of Joey's Badfinger composition "Icicles."

And at last, we closed the main portion of show with one of Badfinger's hits. We went with the popular choice "No Matter What" (from No Dice, the only Badfinger LP I owned in the '70s). Could have been "Baby Blue." Coulda been "Day After Day." We couldn't go wrong any way, no matter what. For our encore, we circled back to a live performance of "Baby Blue" by Joey Molland's Badfinger.

Godspeed, Joey Molland, and Godspeed David Johansen. We'll see you again when our time comes. But we'll hear you again right now. 

And always.

If you like what you see here on Boppin' (Like The Hip Folks Do), please consider a visit to CC's Tip Jar

My new book The Greatest Record Ever Made! (Volume 1) is now available, and you can order an autographed copy here. You can still get my previous book Gabba Gabba Hey! A Conversation With The Ramones from publisher Rare Bird Books, OR an autographed copy here. If you like the books, please consider leaving a rating and/or review at the usual online resources.

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, streaming at SPARK stream and on the Radio Garden app as WESTCOTT RADIO. Recent shows are archived at Westcott Radio. You can read about our history here.

Tuesday, March 11, 2025

THE GREATEST RECORD EVER MADE! Badfinger, "Day After Day"

This is drawn from an earlier post. It is not part of my book The Greatest Record Ever Made! (Volume 1).

An infinite number of tracks can each be THE greatest record ever made, as long as they take turns. Today, this is THE GREATEST RECORD EVER MADE!

BADFINGER: Day After Day
Written by Pete Ham
Produced by George Harrison
Single, Apple Records, 1971

Badfinger was my favorite act on the radio in the early '70s. It's no coincidence that the first entry in my series The Greatest Record Ever Made! was Badfinger's "Baby Blue," nor was there ever any likelihood of me choosing any other song to open my eventual GREM! book (though "Baby Blue" was ultimately paired with the Ramones' "Do You Remember Rock 'n' Roll Radio?" as the book's introduction).

Have to repeat the mantra for those who came in late: An infinite number of songs can each be THE greatest record ever made, as long as they take turns. "Baby Blue" stands out as my favorite among Badfinger favorites, and if I had to pick just one--ONE!!--song and stick with it as GREM!, "Baby Blue" would be it. But I loved all of the Badfinger songs I heard on the radio when I was in middle school. "Come And Get It," the song Paul McCartney gave to the lads, was wonderful, but the singles written by the group's own Pete Ham were better. "Baby Blue," of course. "No Matter What," which many think of as Badfinger's signature tune. And this irresistible ballad "Day After Day."

I am not generally a ballad guy, except on those occasions when I am. I'm infinite, too. "Day After Day" just soars, its heartfelt tale of devotion and longing propelled by a sound taken straight from Abbey Road, a sliding guitar that seems to mourn and hope at the same time, piano that proclaims '70s pop music in all the best ways, harmonies, the experiences of love, wishes, dreams, regret, and AM radio all made as one. 

In 2004, Syracuse musician and promoter Paul Davie organized a live event to commemorate the 40th anniversary of the Beatles' first appearance on The Ed Sullivan Show. Paul's own British Invasion tribute combo the Fab Five would play a set of period-appropriate covers and a set duplicating the Beatles' performances for ol' Stoneface Sullivan back in '64. The Fab Five would also back up Terry Sylvester of the Hollies and Badfinger's Joey Molland in separate sets. 

The Fab Five at that time included Gary Frenay and Arty Lenin from the Flashcubes and Screen Test, along with Davie, local music legend Dave Novak, and veteran drummer Dave Miller. As mentioned in my liner notes for the Screen Test anthology Inspired Humans Making Noise, Dave Miller wasn't as familiar with the Badfinger material as he was with the rest of the evening's rockin' pop syllabus, so NYC-based 'Cubes/Screen Test drummer Tommy Allen agreed to come back to the 'Cuse for a Screen Test gig on Friday night and the Badfinger portion of the British Invasion show Saturday night. Joey Molland also showed up at that Friday night Screen Test show, and he joined the lads for an unplanned, incredible rendition of "No Matter What," setting a high bar for Saturday night's show.

The next evening's show met that bar, maybe even surpassed it. It was neither the first time nor the last time I saw Molland perform, but it was without question the best time. Molland just cooked with the fab quintet of Screen Test plus Davie and Novak. Our Joey acquitted himself well on Badfinger's hits and album tracks, singing most of the leads, including those originally done by the late Pete Ham. But for "Day After Day," Molland ceded the lead mic to Arty Lenin.

And Arty friggin' owned it.

I was 44 years old, a drink in one hand, my lovely wife Brenda on my arm. But I was also 11-12 years old again, my ears stapled to WOLF-AM and WNDR-AM in '71 and '72, hearing music that promised something better than my adolescent doldrums, my preteen angst, looking out of my lonely gloom, day after day. It was...everything, the good and the bad, with good winning out in storybook fashion. I was nearly speechless. After the set, I found my voice and walked up to Arty to say, "Dude, you are Badfinger!"

Pop music is a time machine. It's not just memories, and it's not just the past, because all the things we saw and heard and felt and tasted and dreamed and cried over or bled for remain with us. Always. The records don't remind us--we would remember anyway--but the sound connects us, then and now, now to then. I don't want to be 12 again. I wouldn't mind having a little more hair, a few less pounds, and a better back, and it sure would be nice to skip one or a hundred of the heartbreaks along the way. But living is now, ending in -ing rather than -ed. Every day, my mind is all around you. Turn it up. Every day, I feel the tears that you weep. It's okay. Night after night. Day after day.

We have time.

(Or, at least, we have the time we have. Rest in peace, Mr. Molland.)

If you like what you see here on Boppin' (Like The Hip Folks Do), please consider a visit to CC's Tip Jar

My new book The Greatest Record Ever Made! (Volume 1) is now available, and you can order an autographed copy here. You can still get my previous book Gabba Gabba Hey! A Conversation With The Ramones from publisher Rare Bird Books, OR an autographed copy here. If you like the books, please consider leaving a rating and/or review at the usual online resources.

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, streaming at SPARK stream and on the Radio Garden app as WESTCOTT RADIO. Recent shows are archived at Westcott Radio. You can read about our history here.

Tuesday, October 27, 2020

10 SONGS: 10/27/2020

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 # 1048.

THE FLESHTONES: American Beat '84

A national treasure! I think I first heard The Fleshtones in the very early '80s, either via the live version of "Shadowline" on the 2-LP soundtrack of the film Urgh! A Music War, or via an MTV airing of "R-I-G-H-T-S." I had the Urgh! record, and the 1981 Roman Gods record became my first dedicated Fleshtones purchase. The Roman Gods track "Let's See The Sun" was my go-to 'Tones tune in short order. Super-Rock!

Within just a few years, though, the supremacy of "Let's See The Sun" was abruptly usurped by "American Beat '84." WBNY-FM in Buffalo hooked me on the track, and its appearance in an early scene in the Tom Hanks slob comedy Bachelor Party sealed the deal. I bought the 12" single at a used record store on Buffalo's Hertel Avenue, and it remains one of my all-time favorites.

ROBERT GORDON: Someday, Someway

I think Robert Gordon's rock-solid rendition of "Someday, Someway" was released prior to the song's author Marshall Crenshaw's version, but I definitely heard MC's version first. Both are great.

JOEY MOLLAND: Rainy Day Man

In last week's edition of my Greatest Record Ever Made! video series, I talked about how much Badfinger's "Baby Blue" meant to me. You can see the video here, you can read about it here, and you can read my GREM! book chapter about the song here

That's prologue. Now, Badfinger's beloved guitarist Joey Molland has a brand-new album out, Be True To Yourself. Working with producer Mark Hudson and such stalwarts as Micky Dolenz and Julian Lennon, Molland retains the essential These guys sound like The Beatles! promise that made me a Badfinger fan when I was in middle school. "Rainy Day Man" is an awesome single, ready-made for radio, a beguiling tease for a must-have album.

IRENE PEÑA: It Must Be Summer

Hey, congratulations to America's Sweetheart Irene Peña, as she assumes benevolent stewardship of Big Stir Records' essential digital singles series. The story of TIRnRR's blissful history as Peñamaniacs was told here, and we're delighted that the Big Stir singles will continue in such capable hands. To celebrate, we figured we'd serve up a repeat spin of Ms. Peña's own recent Big Stir single, her irresistible cover of Fountains Of Wayne's "It Must Be Summer." It must be Big Stir. Huzzah, Irene!

THE O'JAYS: Love Train

A message from The O'Jays. The message never goes out of style (which is good), and the need to repeat it never fades away (which is unfortunate). Get on board.

THE ROLLERS: Who'll Be My Keeper

Both this week's playlist and the CD reissue of the 1979 album Elevator credit this track to The Bay City Rollers, but the original LP and its little-heard follow-ups shortened the group's name to just The Rollers. I wrote about Elevator here, and elsewhere I also wrote this:

I adored The Bay City Rollers--"Rock 'n' Roll Love Letter,""Yesterday's Hero," and a superb album track called "Wouldn't You Like It" are sublime power pop nuggets that transcend the perceived limitations of teeny-bop pop--but this post-mania LP is the only full Rollers album that ever grabbed me. By this time, lead singer Les McKeown had split (replaced by Duncan Faure, late of the group Rabbitt), and the group had shortened its name and released this album as a desperate bid for a new audience. Desperate or not, it sounds fine, especially the fab "Who'll Be My Keeper."

There is some fabulous stuff to be found in this brief chapter of The Bay City Rollers' career, '79 to about '82 or so. I've still never heard the rare cassette-only release Burning Rubber, but both Voxx and Ricochet include a few stellar tracks, particularly "85," "God Save Rock And Roll," "Roxy Lady," and "Doors, Bars, Metal."

EVIE SANDS: Don't Look Back Don't Look Down

Singer. Songwriter. Producer. Musician. Evie Sands has been making records for more than five decades, but her music first came to my ears because of her association with SoCal musician (and expatriate Central New Yorker) Adam Marsland. In the first decade of our current sparkly century. Sands played guitar and sang as a member of Adam Marsland's Chaos Band, and I saw her when the AMCB did a club show in Syracuse circa...2005, maybe? They were on a bill with local combo Beauty Scene Outlaws, and it was the first night I ever heard BSO's song "Carl Cafarelli," about some crazy guy who later tried to maintain a daily blog. Weirdo. It was also the night I annoyed AMCB bassist Teresa Cowles by asking her if she played regularly in any bands back in L.A.; Yeah, I was just on stage here with my Danelectro bass, she replied, the you moron! unstated but clearly implied. Oops.

(In my defense, I did know who she was, but mistakenly believed she was just filling in on tour for Severo, whom I thought was the band's regular bassist; I didn't realize Severo had joined The Smithereens, and Cowles was now the AMCB's permanent four-string wizard. With my faux pas corrected, Teresa Cowles allowed me to live. I'm grateful for that.)

I didn't really speak with Evie Sands, but I bought some CDs of her old recordings, including her original '60s versions of songs like "I Can't Let Go" and "Angel Of The Morning." Evie Sands was the first artist to record and release those tunes, before they became hits for The Hollies and Merrilee Rush, respectively. Now, Evie has a brand-new album called Get Of Your Own Way, which was just released in Europe and is officially due out in the States in January. I joined the Kickstarter for that project, and the magnificent end result has been well worth the long wait. We'll be hearing another track from Get Out Of Your Own Way on next week's show.

THE TROGGS: I Can't Control Myself

Well, it's certainly been a minute or two since I've written an entry in The Everlasting First, my A-Z series of reminiscences about how I first encountered various musical acts and fictional characters. The most recent full entries were S Is For THE SEX PISTOLS in November of 2018 and S Is For THE SHADOW in August of 2019. T Is For TARZAN is waaaaay overdue, and that further delays its eventual successor, T Is For THE TROGGS. Wild Thing, you make my heart sing. But in the mean time, this week's show programmed a spin of my favorite Troggs track, "I Can't Control Myself." I had the 1966 Atco Records 45, albeit a little over a decade after the fact, intrigued by its then-scandalous description of a girl whose slacks were low and her hips were showin', ba-ba-bop-a-ba-ba-ba-ba-ba. Oh, no? Oh,YES!

WAR: Low Rider

As much as I loved War's big hit "Why Can't We Be Friends?" when I was 15 in 1975, it was the only War song that mattered to me at the time. War's earlier AM radio smash "The Cisco Kid" hadn't connected with me in '73, nor did I have much use for "Low Rider," the follow-up to "Why Can't We Be Friends?" I didn't really succumb to "Low Rider" until the early '90s, when a fantastic Syracuse group called L'il Georgie and the Shufflin' Hungarians used to include it in their raucous 'n' funky live sets. Then I got it, and suddenly found myself the willing slave to its Latin-derived rhythm and cobra-like groove. The Hungarians did a great cover, but nothing can match the original.

The whims and alchemy that combine to create each weekly TIRnRR playlist somehow led me to wanna program "Low Rider" this week. I don't think we ever played it on any previous show, and I didn't actually own a copy of the song. But ya can't argue with a DJ's whims--it's unhealthy and rude--so I purchased a two-CD War anthology just so I could play "Low Rider." The rest of the set sounds pretty damned good, too, so War will likely continue on future shows. My teenage self was such a clueless little pisser.

KIM WILDE: Kids In America

On This Is Rock 'n' Roll Radio, we tend to play The Muffs' willfully snarky and messy cover of "Kids In America" more often than we play the original 1981 version by British singer Kim Wilde. We love both versions. I recall that Kim Wilde's eponymous debut LP was once a fave on my turntable--mostly for "Kids In America," of course, but I remember playing and digging the album as a whole, or at least some of its tracks. I'm curious to re-investigate that sound, to see if it still holds up for me almost forty years later. But my copy of that album is long, long gone, a victim of one of the many periodic purges my vinyl collection has endured over the years. I'm not a kid anymore.

Kids in America. When the record came out in the summer of '81, I was 21 years old, already a year out of college, living with my girlfriend in a one-bedroom apartment. I was still a kid, emotionally and chronologically, though I was trying hard to pretend otherwise. 

I voted for the first time the preceding November. I wish I could say that I voted to re-elect Jimmy Carter, a fine man whom I did not appreciate until it was far too late. I can at least say that I did not vote for Reagan--God, no--but I wish that I hadn't wasted my vote on third-party candidate John Anderson. I was a kid. I didn't know any better...but I should have.

Forty years later, I can't necessarily claim that I've learned all that much. But I keep trying. I married the girlfriend. We voted on Sunday. We hope all the other kids in America will do the same. 

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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.


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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).

Tuesday, September 15, 2020

10 SONGS: 9/15/2020

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.
Chuck Berry, Teri Garr, The T.A.M.I. Show
This week's edition of 10 Songs draws exclusively from the playlist for This Is Rock 'n' Roll Radio # 1042.

THE BEACH BOYS: God Only Knows



My book The Greatest Record Ever Made! (Volume 1) is dedicated to the idea that an infinite number of songs can each be THE greatest record ever made, as long as they take turns. It's about individual songs, not albums, but its chapter celebrating the grandeur of The Beach Boys' "God Only Knows" also pays proper tribute to the greatest album ever made, Pet Sounds:

Ambivalence and certainty can sometimes go hand in hand. It's incongruous, a paradox, but it's true in the sublime case of "God Only Knows." The track is emblematic of the classic album that gave it life: Brian Wilson's 1966 masterpiece Pet Sounds.

Pet Sounds is pop music's greatest contradiction: fragile but indestructible, delicate but strong, frail but immortal. Gossamer and granite. It is a wisp of emotion, heartbreak, love, and hope, a precarious house of cards that will still stand long after we're all dust. It is pop, and it is art, but it is not pop art. It is mature, and it as giddy as a teenager in love with the unattainable...


..."God Only Knows" is the most beautiful song that has ever graced our human experience. It is as close to the divine as our mortal ears can receive and relay, as near to celestial presence as man or woman could ever imagine while still tethered to this physical realm. Its music lifts us even as its lyrics remind us of the limits to our flawed perception, our finite grasp, but reinforces our faith all the same....

CHUCK BERRY: Nadine (Is It You?)



TCM ran the 1964 concert flick The T.A.M.I. Show as one of its Labor Day weekend offerings this year. The fact that I have the film on Blu-ray and have already seen it many times over the years didn't stop me from recording it on my DVR to watch again. It's my favorite concert film, and it has no real competition for that title.



Following the opening montage and introduction by emcees Jan & Dean, the first live performer to appear in The T.A.M.I. Show is the one and only Chuck Berry. And he kinda gets short shrift, having to share his time with the British Invasion, embodied in this spot by Gerry and the Pacemakers. The Pacemakers are fine, and that's not meant as faint praise at all. But he's Chuck Berry, and even with his limited screen time, he shines.

Teri Garr dancing to The Supremes on The T.A.M.I. Show
(A then-unknown Teri Garr also shines as one of the dancers in The T.A.M.I. Show. I didn't know her until falling in love with her on a Star Trek rerun. Man, she was cute.)




BLUE ÖYSTER CULT: This Ain't The Summer Of Love



I've written many times about my friend Tom, who killed himself in 1979. The other day, the random thought occurred to me that, if he had lived, Tom and I probably would have parted company somewhere along the line. It was an unsettling, sobering thought. As much as we had been friends, our paths were already starting to diverge when he carried out that final act. He is frozen at a point in time when we were friends. It's been more than forty years, and the memory still aches. Losing a friend is difficult. Losing a friend to suicide leaves a wound that never quite goes away. That mental scar inevitably dominates my recollection of a former friend. 

There are specific songs that always remind me of Tom, songs I first heard when Tom played them. Both David Bowie's "All The Madmen" and The Runaways' cover of The Velvet Underground's "Rock And Roll" are superglued to Tom's memory. And that is likewise true of "This Ain't The Summer Of Love," a track from Blue Öyster Cult's 1976 album Agents Of Fortune. I only knew the band from radio play of "(Don't Fear) The Reaper," but Tom had the LP, and played it for me. Tom was particularly fond of "This Ain't The Summer Of Love," and his enthusiasm was infectious. 

In a previous 10 Songs, I wrote: BÖC's best-known tracks are "Don't Fear The Reaper" and (later on) "Burnin' For You," with maybe an honorable mention for "Godzilla." My favorite remains "This Ain't The Summer Of Love," a lean and efficient LP track from Agents Of Fortune (the album that gave us "Don't Fear The Reaper"). I learned of the song through my doomed high school pal Tom, prompting me to purchase my own battered, used copy of the album in time for college. During my freshman year, Side One of Agents Of Fortune was as much a go-to slab of vinyl as my Sex Pistols and Monkees records, and "This Ain't The Summer Of Love" in particular fit well alongside my steady diet of RamonesTelevisionJam, and Dave Clark Five.

For me, 1979 was the summer of love. I had met Brenda the preceding fall, and we were getting increasingly serious about committing our hearts to each other. She was with me the night I saw Tom for the last time, and she was with me the next morning when a phone call delivered the news of his death. She tried to comfort as best she could. It was a summer of love, no matter what a song said. It was also a summer marked by the start of a lingering sadness that's not ever going to go away. Friendships end. That's the nature of all things in this physical world. 

Friendships shouldn't end like that one did.

SHAUN CASSIDY: So Sad About Us



'70s teen idol Shaun Cassidy's 1980 album Wasp was, I guess, his attempt to transition from that aforementioned teen idol gig into something more serious and mature. Before he attempted that move, he recorded some pop material that is very much underrated; I can do without his covers of The Crystals and The Lovin' Spoonful, but his Eric Carmen-penned hits "That's Rock 'n' Roll" and "Hey Deanie" are simply stellar, and his own composition "Teen Dream" mines a similar vein with giddily successful results. The Flashcubes used to cover "Hey Deanie" (albeit a charged-up read of Carmen's version rather than Cassidy's), and 'Cubes bassist Gary Frenay wrote a song called "Boy Scout Pinup," about a girl's Shaun Cassidy and her wish that it would come to life and do serious, mature things with her. But I digress.

For dramatic purposes, the parts of boy scout pinup Cassidy and his fantasizing fan shall be played by Micky Dolenz and Teri Garr respectively
Cassidy's overt pop (even power pop) was the stuff of his first two albums, Shaun Cassidy and Born Late, both issued in 1977. 1978's Under Wraps was an attempted step toward leaving that behind. Being (or trying to sound) grown-up isn't necessarily a good thing, though Under Wraps does include Cassidy's capable take on Brian Wilson's "It's Like Heaven"). It was not as big a hit as Cassidy's previous records. 1979's Shaun Cassidy Live was his farewell to the screamin' girls and boy-scout pinup stardom. It didn't sell. 

So, for fifth and final album Wasp, Cassidy enlisted Todd Rundgren to produce something edgier, something new wave. It was a ballsy move; some thought it desperate, I suppose, but it seems sincere. Wasp includes three songs written by Rundgren, and a fourth written by Rundgren, Cassidy, Roger Powell, and John Wilcox. The rest of the album is filled with covers of songs by David Bowie, Talking Heads, The Four Tops, The Animals, The Who, and Ian Hunter

I didn't like it much at the time, but I haven't listened to it in...gosh, it's been ages. I still have it, and I need to give it a fresh spin. I do recall cringing at the version of Hunter's "Once Bitten, Twice Shy" on Wasp, but Cassidy's cover of The Who's "So Sad About Us" is pretty good, and well worth a slot on the radio.

CHICAGO: Feelin' Stronger Every Day



Chicago's music was certainly a fixture of my prime AM radio-listening days in the '70s. I grew to actively dislike the group in the '80s. I don't remember whether or not that dislike prompted me to forsake the older stuff in an unwise disposal of baby and bath water; if so, I've since regained my earlier affection for "Saturday In The Park." And I can't imagine how I could have ever turned away from "Feelin' Stronger Every Day," a dynamic track that's as rich and invigorating as pop music oughtta be. I like "Saturday In The Park;" I love "Feelin' Stronger Every Day." 

(And I'm bummed that when I saw the 21st century version of Chicago just a few years ago, they did only an abbreviated rendition of "Feelin' Stronger Every Day." Oh, but sure, they had plenty of time for all those '80s hits. Yechh.)

THE DAHLMANNS: Shake Me Up Tonight


The Dahlmanns! Man, this song rocks, and we haven't played it in far, far too long. I received a note from Lindsay Hutton of the venerable rockin' fanzine The Next Big Thing, mentioning some vinyl releases he'd done of this fab Norwegian combo. That mention was enough to send me scurryin' to pull out the group's 2011 All Dahled Up CD and return "Shake Me Up Tonight" to the airwaves. Where it belongs! More Dahlmanns in future weeks. 

JOEY MOLLAND: You Make Me Sick



We're looking forward to former Badfinger guitarist Joey Molland's new album Be True To Yourself, which is due out in October, and which features support from the likes of Micky Dolenz, Julian Lennon, Mark Hudson, and more. While we're waiting, Dana programmed this antiwar track from Molland's 1992 album The Pilgrim for our listening pleasure. I reviewed The Pilgrim for Goldmine when it was released, but I hadn't heard the song in years. It holds up, and I'm eager to hear Joey's new stuff.

THE REVELATIONS: Why When Love Has Gone



I come back to this statement time and time again: any record you ain't heard is a new record. I don't think I had even heard of The Revelations until a few weeks ago, when intrepid TIRnRR listener Dave Murray recommended I treat myself to a spin of their 2014 cover of The Isley Brothers' "Why When Love Is Gone." Six years old, but a new record to me. Make that a great new record to me, as The Revelations ace the difficult task of doing an Isleys song even better than the Isleys did it. 

THE SMALL FACES: You Need Lovin'

Willie Dixon wrote "You Need Love" for Muddy Waters. The Small Faces appropriated it for their own "You Need Lovin'." Led Zeppelin appropriated "You Need Lovin'" for their own "Whole Lotta Love." The Small Faces were fantastic and influential, but not really a superstar mega-selling record company cash cow. Led Zeppelin, on the other hand...well, let's just say that Willie Dixon knew which act it made more financial sense to sue. Dixon and Zep settled out of court in 1987.
Oh, go squeeze your own lemon.
THE VELVELETTES: He Was Really Sayin' Somethin'



In 1982, the combined forces of Bananarama and Fun Boy Three introduced me to the song "Really Saying Something," a bubbly girl-group number that was immediately catchy and radio-ready. I don't remember when I found out it was a cover of a 1965 Motown single, nor when I finally heard that original version by The Velvelettes. Those British chicks and fellows did a fine job with their cover; The Velvelettes blow 'em away. And that's sayin' somethin'.




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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.


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