Speaker 1: Hudson River Radio dot Com.
Speaker 2: It's over now on anything got in your zipper will
be handled by the school nurse and not me.
Speaker 3: And now are you adequately prepared to rock?
Speaker 4: Ye?
Speaker 2: Silence.
Speaker 1: This is John Fulbright. Hi, this is jar Williams.
Speaker 5: Hi.
Speaker 1: This is Mitch Margle of the Tokens. Hi.
Speaker 3: This is Gary us Bonds mad here on the Rock
and Roll History Show.
Speaker 2: Hello, everyone, welcome back to the Rock and Roll History
Show on Hudson River Radio. I'm Brian Horowitz. We have
a good one for you lined up tonight. I'm gonna
let Barbara explain that in just a minute, but as always,
allow me to introduce all the cranbones who are joining
us here tonight. First and foremost, from the Richter Observatory,
he says, the easiest time to add insult to injury
is when you're signing someone's cast. Neil Richers for this.
Speaker 6: Good one. Yeah, Hey, how you doing? Everybody?
Speaker 2: And from Paranormal Yours, she saw a guy pass out
on the ferris wheel, but he's slowly coming around, Hi, everybody,
And from the silver screens, she saw Charles Dickens walk
into a bar and order a martini. The bartender asked,
olive or twist.
Speaker 7: Mercedes, I would go for the olive.
Speaker 2: I would agree for a Martinez and our officially retired teacher.
He says that telephone polls are just trees that got
a job. John Kelly is here.
Speaker 1: Hey, everybody, could you see it could be here?
Speaker 2: And last, but not least, the host of shaving Cream.
The last time she went to the hospital, she asked
if she could do her own stitches. The doctor said,
suit yourself.
Speaker 8: Oh yeah, I made a little hard you know.
Speaker 2: Yeah, So welcome back all after our week off that
went by so quickly. Yeah, I am somehow even more
sleep deprived than I was before. So I don't know
if it's a good idea to do that again, but
we'll see as time comes.
Speaker 7: We will judge by the end of the show.
Speaker 2: You can judge by the fact that I will not
be able to put a full sentence together. But there's
a sorry. Yeah, yeah, we'll see how it goes.
Speaker 7: So far, you've got full sentences.
Speaker 6: All right, good, but it never it never stopped me,
so fair enough.
Speaker 2: I just want to affirm that I am only drinking
coffee tonight because I'm trying to counter effect, you know,
there's nothing else.
Speaker 9: I had such a wretched day at work, I finally
opened the Guinness Stout that's been in my refrigerator for nights.
Speaker 2: Good for you, Good Wow.
Speaker 10: Gail, Wow, I'm saving mine for Saint Patrick's.
Speaker 2: I am all for that. Awesome all right. So our idea,
our topic this week came from Barbara, so I am
going to turn it over to her to explain it
and to lead us software tonight.
Speaker 10: Okay, Well, I listen to Little Stevens Underground Garage Channel
twenty one on Sirius XM a lot, and they play
some really cool stuff. And one of the things I
love about that station is they play deep cuts that
I've never heard done by artists that I've heard about
and might even be famous. So I thought that might
be a good topic for the show if myself and
my fellow Crambones could find a deep cut that we
like and want to introduce our fellow Crambones too, by
a band that is famous or that everyone's heard of.
Speaker 8: And that is the premise of tonight's.
Speaker 1: Show, all right.
Speaker 8: So I'm going to go first, and.
Speaker 10: My song choice for today's topic is something I've been
wanting to play for a long time, so I was actually.
Speaker 8: Had a double reason for picking this topic.
Speaker 10: The song is called I Dig Everything and it's by
David Bowie. Now I know we've done. I've done David
Bowie before. A couple of years ago for Halloween I
picked Please Mister Gravedigger by David Bowie, which was real
creepy and yet another deep cut. So now we have
another one, so I will go over some details about
mister Bowie again. He was born in January eighth, nineteen
forty seven, as David.
Speaker 8: Robert Jones, and among the record.
Speaker 10: Labels with which he's been affiliated are RCA, Virgin Emi, Columbia,
Darren Mercury, BMG, Arista, Pie, Vocalion, Parlophone, Raiko. Among the
bands of which he's been a member are The Buzz,
the Conrads, the King Bees, the Manish Boys, The Lower Third,
The Riot Squad, Hype, Arnold Korn's, and Tin Machine. He's
known for different genres, including art rock, glam rock, pop,
and electronic, but he was a student of art originally
designed and music, and decided on a professional music career
in nineteen sixty three.
Speaker 8: He released some singles and a self titled solo album.
Speaker 10: In nineteen sixty seven, but did not achieve commercial success
until two years later in nineteen sixty nine, with the
release of the Space Oddity single, which made it to
the top five on the UK Singles Chart. In nineteen
seventy two, during the glam rock era, we saw his
emersions as the alter ego Ziggy Stardust, evolving from the
album The Rise and Fall of Ziggy Stardust and the
Spiders from Bars, which also featured the single Starman, which
is like one of my favorite earworms.
Speaker 8: In nineteen seventy six.
Speaker 10: His single Fame reached number one on the US Singles Chart,
and his album Young American, released in nineteen seventy seven,
was also immensely popular. In nineteen eighty he released the
album Scary Monsters and Super Creeps, which featured the single
Ashes to Ashes that revisited the character of Major Tom
from Space Oddity. Bowie was actually at the height of
his commercial success in the nineteen eighties with his collaboration
with the rock group Queen and their single under Pressure,
and later with his single Let's Stance. In nineteen eighty three,
the song for Tonight I Dig Everything was released as
a single by Pie Records on August nineteenth, nineteen sixty six,
and was his final single for that record label.
Speaker 8: Let's pause here and have a listen, because I'm curious
to know what my fellow Cranblines think.
Speaker 1: Of the song.
Speaker 11: I've got the bigest powder.
Speaker 1: A walk being along beside the garbage man.
Speaker 7: Other bigger than the man.
Speaker 1: Waiting to the policeman. But they don't wait back. They
no bigger.
Speaker 12: I ain't having a job for a year on more,
and I don't know there.
Speaker 1: Everything smell and ask me to geverything.
Speaker 11: Everything smell lit big everything.
Speaker 4: Feed the line and a clown square and a bigger
that day.
Speaker 1: I sau just be your mom and don't do my
singer atte stall and your bright man.
Speaker 4: Got a backstret room at that part of town.
Speaker 1: I have a big ever.
Speaker 4: I see people who speak below who don't know whether
they're gone.
Speaker 1: They don't pigget. Everything's an hearty thing. Everything's fan anharty
gether thing.
Speaker 7: I've got more friends, and I've had.
Speaker 3: My dinners, and some of them are.
Speaker 13: Losers that the rest of them are winners.
Speaker 5: Rick John Sally, connection name Park Holy All and none.
Speaker 1: Of their intentions. It's all we smoke, then some getting
out and dogether the sound mad contractor charltte. That's not me.
Speaker 8: I'm sorry. I think that's awesome.
Speaker 6: I love I love that song. I love that.
Speaker 9: That's what I wasn't possibly go wrong with, David Bowie.
Speaker 6: I love that, and I like yourself. I heard it
on the underground garage to first and I was like,
where was I How did I miss this? Exactly exactly,
And you can't tell me that Mike Myers didn't think
of this song when he was inventing Austin Powers yea
in the sound track for that for those that film series.
Speaker 2: Oh yeah, somebody.
Speaker 3: Definitely had that busy whatever.
Speaker 8: Yeah, that vibe that that whole live was there because.
Speaker 3: It had that colorful kind of you can almost see.
Speaker 10: The psychedelic Yeah, definitely. Well how about this? The single
at the time was a commercial failure and actually resulted
in the record label dropping Bowie Wow.
Speaker 8: The single was first.
Speaker 10: Attempted by Bowie with his backing band The Buzz, but
the band had not rehearsed it enough and producer Tony
Hatch scrapped the recording and had Bowie re record it
with studio musicians.
Speaker 8: So that's what you heard.
Speaker 10: And there was actually an unplugged version released in twenty
twenty two which was slower and more mellow, and it
was on the Toy Box compilation album after Bowie's death.
And that is also one that I've heard on the radio,
but this one is much more joyous.
Speaker 8: So Bowie was inducted.
Speaker 10: Into the Rock and Roll Hall of Fame in nineteen
ninety six. He also appeared and starred in several acting roles.
In nineteen seventy six he started The Man Who Fell
to Earth. He portrayed the character Major Jack Celier in
nineteen eighty three, He's Merry Christmas, mister Lawrence Philip Jeffries
in nineteen ninety Two's Twin Peaks Firewalk with Me.
Speaker 1: Yes, he did, and.
Speaker 9: I was so upset because he did not like how
he sounded doing a Southern accent in that show. So
he had all of his lines over dubbed by someone else.
Speaker 8: Oh that's a crime, it is, that's a crime.
Speaker 10: Oh, thank you, Gail for the He portrayed Andy Warhol
in nineteen ninety six is the bas Bosquaat and Nikola
Tesla in two thousand and six is The Prestige, And
I deliberately say for last my favorite role because I
need a fangirl speak about it, because you can't shut
me up when it comes to things like that. His
magical portrayal of the Goblin King in the nineteen eighty
six fantasy film Labyrinth, and spoiler alert if you haven't
seen it, the heroine of the film does not end
up with the Goblin King, and I do not agree
with her choice. And there's a lot of people that
agree with me, actually mostly girls, but yeah, a lot
of people that agree with me. In twenty sixteen, unfortunately,
Bowie passed away from liver cancer, same thing that my
father died of, and this was just two days after
the release of his.
Speaker 8: Final album, Black Star. Yeah, lost to the world and
that's all I got.
Speaker 2: He had a place in the Ulster County that far
from really still in the family or not, but yeah, yeah, wow,
when was this like he did when he passed away?
Speaker 6: I did that might?
Speaker 8: Actually, like how long ago did he he had it?
Speaker 2: When when he when he passed away. I don't know
if he was living there at that time, but.
Speaker 8: No, I'm just saying I've known you a long time
and you did not tell me this.
Speaker 2: Well it sounds like for his safety. It's good that
I didn't mean. Oh I know us ladies would have
done like road trip. That's what I'm saying. All right, awesome,
thank you, Barbara, Neil.
Speaker 6: What up to you? All right? My obscure song by
a well known band is called We Love You, and
the well known band is the Rolling Stones. Them. You've
heard of them right, Well, now you add a couple
of beatles to the mix, not to obscure. There you've
heard of them too, right, and you get squashed. Well
you have to wonder how this one like slipped through
the cracks or whatever, but somehow I think it did. Now,
if you don't know who the Rolling Stones are, the
door is over there. You can see yourselves out right now.
Thank you, goodbye, but quickly. The Rolling Stones are an
English rock band that formed in London in nineteen sixty two,
and after over six decades, more than six decades of
being one of the most popular, influential, and enduring bands
in history, ladies and gentlemen, they have earned the title
of the greatest rock and roll band in the world,
No arguments.
Speaker 7: Please, and Neil's second favorite band. Yes, yes, true.
Speaker 2: So does that mean he's arguing with himself now all
the time.
Speaker 6: Oh, you don't know what it's like inside of it.
You have no idea anyway. We Love You was a
song written for The Stones by lead singer Mick Jagger
and guitarist Keith Richards, as were the majority of the
band's original material. It was written shortly after the two
had been busted on drug charges at Richard's home in
early nineteen sixty seven. Now, in the late nineteen sixties,
drug use was pretty commonplace in the British music industry
and as well as here in the US for that matter,
but this fact was not widely known by the general public,
at least in the UK apparently. Now. While Jagger and
Richards were convicted following the arrest, many in the music
industry as well as the public at large, felt the
decision to prosecute them was kind of unnecessary and that
the pair were being hounded by the authorities merely as
an example to discourage drug use. We Love You was
written as a message of thanks to all the fans
for their public support. Now. The song was recorded in
nineteen sixty seven at Olympic Studios in London. During the
same sessions that the Stones recorded their Satanic Magistries Request LP,
and it was certainly inspired by the psychedelic scene that
was happening at the time. Recorded by the stones original
classic lineup of Jagger and Richards, Brian Jones, Bill Wyman
and Charlie Watts, Satanic Majesty's is often compared to the
Beatles Sergeant Pepper album and one can kind of plainly
see why, which brings us to the Beatles. John Lennon
and Paul McCartney, who just happened to be visiting the
studio that day, ended up coming in and overdubbing some
backing vocals on the track. Now, incidentally, the Beatles had
just recently performed the song All You Need Is Love
on a worldwide satellite TV broadcast and Jagger and Richards
were among the many chorus singers on that song, So
I guess turn about is fair play. We Love You
was released as an A side of a Nons album
single in August of nineteen sixty seven, with the B
side being the song Dandelion. The song reached number eight
on the British Singles chart, so two weeks later the
single was released in the US, but it only got
as far as number fifty on the Billboard Hot one hundred,
so they put Dandelion on the A side and then
the song went to number fourteen. The single also reached
the top ten in Germany, Austria, Sweden and Norway. But
why don't we take a pause here and listen to
We Love You by the Rolling Stone. No, not like.
Speaker 1: That used to.
Speaker 14: Say, women with your well men wave.
Speaker 15: In it at all we do.
Speaker 2: And that whole.
Speaker 6: That to slightly psychedelic, I think a little bit, and
I like at the beginning the slamming jail doors for effect,
Yes very nice. We Love You is considered one of
the stones most experimental songs, and in the context of
their Satanic Majesty's requests, that's kind of really saying something
with its sound effects, layers of overdub vocals, amelotron part
and it's manic opening piano riff provided by keyboardist extraordinary
Nicky Hopkins, who I did get to see play with
the Stones on their tour in nineteen seventy two. Incidentally,
the single was the final Stones recording manager Andrew Luke
Oldham would receive production credit for. He quit soon after,
pretty much citing the artistic differences. That's a catch all
phrase if I ever heard one. Yeah, but Oldham, by
the way, was kind of the Stone's counterpart to the
Beatles Brian Epstein. If that puts any perspective to it,
it does. Promotional film was made for We Love You,
but the BBC refused to show it on the Top
of the Pops TV program, possibly because of footage showing
Brian Jones with his eyes drooping and unfocused and pretty
much obviously stoned out of his mind. Over the years,
We Love You has been included on several different Stones
best of albums and box set collections. But there you
have it, my obscure Rolling Stones tune, and I hope
you loved it too.
Speaker 10: I did.
Speaker 7: Yeah, good stuff.
Speaker 6: I love it.
Speaker 8: I've heard it before, but I haven't had it in
a long time.
Speaker 9: I think i've heard it before too, believe it or not.
Speaker 2: Yeah, well I knew. I mean, I knew the Stones,
I knew the Beatles together. But I know all the
details behind it, so that's cool.
Speaker 6: Actually, on the cover on the cover of their Satanic
Majesty's Request, which was originally released like kind of a
three D I lenticular cover, it was kind of like a.
Speaker 7: It was lenticular.
Speaker 6: Well that's what I'm trying to tell you. It was. Okay,
it was only on the original you know release, you know,
subsequent ones. It was just a regular picture anyway. It
gave the illusion of three dimensions, you know, if you
kind of wheedled it a little bit, you could kind
of see them moving a little bit. But the point
I'm making is that the Beatles were also like kind
of snuck in there, like you know, down to the bottom.
You can you can see them if you look hard enough.
They were in there. So very cool.
Speaker 2: Yeah, all right, thank you, Neil. We're gonna take a
real quick break, but we have a lot more coming up,
so stick around. We'll be right back.
Speaker 6: Hudson River Radio dot com.
Speaker 7: This concludes the first part of this cassette.
Speaker 2: Please turn the cassette over and begin again on side
to Hudson Riverradio dot Com. Your mom likes us. Welcome back, Gail.
Speaker 6: What do you have for us?
Speaker 1: Okay?
Speaker 9: Well, as usual, I'm a little not sure whether the
song fits the topic because when I was researching the
topic and did a search on deep cuts, my song
that I chose by Anna Lennox. It's called Little Bird
and that came up on the list. But I'm super
familiar with this song. I could swear this is not
exactly a deep cut, but I don't know, because when
I originally bought the CD, back when CDs were more
of a thing. When I get a CD or an album,
I just listened to it from start to finish, and
I do that several times if I like it. And
I really liked this whole album, which was Annie Lennox's
first solo album, and that was called Diva and it
came out in nineteen ninety two. Now, I know I've
spoken about Annie Lenox before on this show, but just briefly.
She's seventy one now, and she's a Scottish singer, songwriter
and philanthropist. Her career has spanned nearly fifty five zero years.
She first found moderate success in the nineteen seventies with
a new wave band called The Tourists, and in the
nineteen eighties she and Dave Stewart achieved international success as Eurhythmics,
and she's known for her unique voice and their collaborations.
Her voice, let me tell you can do so many
amazing acrobatics. What arranged the woman has what skill and talent.
Speaker 2: Did you see her induction the Hall of Fame induction
when they when you were a mixed winning No? No, Yeah,
that's on YouTube. That's worth watching because that shows exactly
what you're talking about.
Speaker 9: Yes, she's amazing. I've always adored her work so, and
it's interesting because it was written during writing sessions for
her first solo album, and it's a song about her
saying goodbye to one chapter in her life before beginning
another chapter, a story of recovery and self empowerment. So
I thought the topic is very appropriate for a first
solo album. Now, it was released as a double A side.
Speaker 1: Is that a thing? Yeah?
Speaker 7: I never heard of that.
Speaker 2: What does that mean to release singles on the same
forty five? Yeah?
Speaker 9: Okay, because it was released as a double A side
long love song for a Vampire which was featured on
the soundtrack for Bram Stoker's Dracula, which is another movie
I super super recommend. When I saw that movie, I
realized how close it was to the original novel. When
they had Dracula as a vampire skittering up, not crawling up,
not you know, rebounding up, skittering up the castle wall.
I get I get chills just thinking about it. That's
it was exactly as they described it in Ramstoker's books.
So I was super.
Speaker 7: Apased with that.
Speaker 8: That film was very nicely done.
Speaker 9: Oh my gosh, that was amazing. And that film was
released in nineteen ninety two.
Speaker 1: Now let's have her.
Speaker 9: Listen, and then I'll give you a few more tidbits
of info.
Speaker 1: I look up to a little sle mellow d me
looks me more to cry.
Speaker 4: It makes me want to sit by down and cry,
cry cry yeah, book.
Speaker 1: See the street, so darme with red but stead up
back be that bad and I'm not out w he
I wish I'll have the wings to fly away.
Speaker 15: Down yeah, so loud, do not go man? Want to do.
Speaker 6: So?
Speaker 1: Bill say you knew Basketma. This kind of birds pull
a lot of Nasa feeling a lot of my lassle.
I've just got to this bride to return.
Speaker 10: I have just.
Speaker 16: Trouble is so lose, waiting.
Speaker 1: Waiting to the ride, wit me the strange carry you
can let.
Speaker 14: Back, give me the strength to let this burn.
Speaker 16: Ye give me the strength to lay you down down name.
Speaker 15: Down but.
Speaker 6: So no.
Speaker 15: Where do not go?
Speaker 10: No?
Speaker 15: Wait do I no.
Speaker 6: Be so.
Speaker 1: S you, Nemaster, this can best mother than that Badmaster.
I'm not being not many Castle.
Speaker 16: I'm just going to this word is the tallow.
Speaker 15: That just got to.
Speaker 9: I think that's very catchy and very inspiring.
Speaker 2: Pretty Much everything she does is you know, yeah, even
if it's stuff you haven't heard, stuff you don't know,
it's still I got that.
Speaker 1: I agree.
Speaker 9: I recommend all of her albums because they're just very
well written, very well performed, and kind of addictive. Little
Bird earned a silver Record in the UK after two
hundred thousand singles were sold in twenty twelve.
Speaker 7: It charted as a solo.
Speaker 9: Single for the first time, reaching number ninety six on
the UK Singles Chart after Lenox performed the song during
the twenty twelve Summer Olympics closing ceremony, and after that
also it reached number ninety six on the UK Singles
Downloads Charts. And that's all I got.
Speaker 2: That's a good one. Ask you, thank you, Gail John to.
Speaker 3: You a I think, like Gail, I know this topic
should be an easy one, but I kind of struggled
with what is a deep cut? What does it really mean?
And I had to think about it for a little bit.
So I picked something that was unknown to me. I'm
sure a lot of people in this audience and only
indeed a lot of people on this podcast no exactly
know the song and the group specifically. I picked the
Almond Brothers Statesborough Blues. Now, Statesborough Blues has been around
for a very long time. It was originally recorded in
nineteen twenty eight. It's a Piedmont blues song, which is
a style of blues that I just learned that actually
the beauties of the Rock and Roll History Show is.
I had no idea what the hell Piedmont blues is
because of this show, now I do.
Speaker 16: So.
Speaker 3: It was written by blind Willie McTell, who recorded it
in nineteen twenty eight, and the title refers to the
talent of Statesboro, Georgia. So we don't have a lot
of the time to do both versions of the song,
but I do recommend that you look up the nineteen
twenty eight version and give it a listen, and then
give the Almond Brothers version a listen, because you can
see the origins of the song in the Almond Brothers version,
and you can just really see how they enhanced the song.
I think from nineteen twenty eight. It's one of those
songs I find it's interesting. It's been played by many
people over the years, and they've all put their own
spin on it, you know, their own kind of style
to it, which has kind of given the song almost
a little bit of a life of its own. So
I guess maybe in that in that vein, it could
be considered a deep I don't know, but it's something
that I found interesting from my limited musical knowledge. So Brian,
without further ado, let us play the nineteen seventy one
Allman Brothers version before we slay it. Though I must
say that this song first appeared at Stillmore Easy Queens
the well.
Speaker 12: All right, mama, welcome man, tell your downtown bloom.
Speaker 1: You can't down turn up the town for your door.
Speaker 5: Not this morning hair them stands for blue, not this
morning had them stands for blue.
Speaker 1: Time of the colony.
Speaker 17: Grant ass you to health, Unda a god for that
love looking baby.
Speaker 1: Com to the country. Maybe do you wanna ball if
you can't make a baby? Your sister, Lucian, such a
hornable sta. I love that moment.
Speaker 18: Well, that the woman I have ever seen than a
woman I have ever see see me look.
Speaker 3: At my no, no, no, Mother, I want to say
just a couple of points and then I've Neil's got
an interesting anecdote on this particular song. The all My
Brothers did not get the idea from the original for
the song that they actually got the idea from Taj Mahal,
and again the wonders of the Rock and Roll History Show.
Until I did the research for this song, I wouldn't
have had a clue as to who the heck taj
Mahal WASJ Mahall obviously is was Henry Saint Clair Frederick's junior,
better known by his stage name Taj Mahal, is an
American blues musician. He plays a guitar, piano, banjo, harmonica,
et cetera, et cetera, and his version is what inspired
the Allman Brothers to play to to to do the
song themselves, particularly the slide guitar that they heard on
the nineteen sixty eight version as well. Again another thing
thanks to the Rock and Roll History Show, I had
no idea what the heck of slide guitar was until
I was able until.
Speaker 2: You're going to pop up in Australia, you know.
Speaker 3: It's so I learned that it's it's not a what
is this? I thought it was a guitar. No, it's
a technique on the guitar.
Speaker 2: You can google it and do well they may well
there's lap steals. There's lots of other stuff too, But yeah,
I know, but it's so hard to play.
Speaker 7: You can use a beer battle.
Speaker 3: Okay, you had no idea, So anyway that I I
kind of what I thought was deep about this song
was it's it's uh, it's growth in the last ninety
eight years that it has been around. And Neil, what
did you have to say about the the song or Oh?
Speaker 6: First of all, first of all, yeah, you're talking about
the slide guitar, And yeah, I mean there wasn't a
much better slide guitar player than Dwayne Alman to begin with.
And if you didn't know him from the Almond Brothers,
if you know a song by Eric Clapton called Layla, Yes, yeah, okay,
that's all I'm saying. Yep, but yeah, no, you're really
tugging at my heart strings. Here was my youthful heart strings.
I saw the Almond Brothers at the Phil Mooreae, not
the night that this particular album was recorded, but shortly thereafter,
and it was actually the final weekend of shows when
the phil Maurice closed in June of nineteen seventy one.
At the end of June, I think it was the
twenty fifth, sixth, and seventh, the final night. The twenty
seventh was an industry only you know, invited record people,
radio people, of which I was not one yet at
fifteen years old, but somehow I did manage to score
a ticket for the for the last public night, and
it was it was amazing. It was I thought these
guys had landed from out of space when they were playing.
You know, so the opening at the two opening Albert King,
the blues guitar player, and another band called Jay Giles
Band was sandwiched in there too, who went on to
become a little more popular, a little more famous too.
So but oh yeah, no, that so yeah, that that
that record. And again I wasn't at that performance, but
I did see them play there at at the Filmore
and and as I think, as as you know, the
taping here today, it actually is the anniversary that it
opened right around this time in nineteen sixty eight, from
what it was actually you know, opened it, so it
was only around for like three years at the moment.
But the history and the legendary players that you know
that came through there, and all the albums that were
recorded there, live albums, it was it was a magical place.
That's all I can say.
Speaker 3: I appreciate it, Neil. So I hope you all enjoyed
the State Sporo Blues, and I would strongly advise or
recommend that you folks out there give a listen to
some of the previous versions. I would start with the
nineteen twenty eight version, and you can hear some of
the guitar on there and kind of hear the sound
of the twenties, and I think also that version, you
can really I think it was a little ahead of
its time. When I listened to the twenty eight version,
and then I listened to the to the sixty eight
and again, you know, and the seventy one version. I
just the sound, the sound didn't seem to fit the twenties,
and it apparent and so it was one of those
things that I found interesting and just interesting from a
historical perspective, that the song itself didn't fit the timeframe
that it was created in and it grew into so
many different directions, so I hope you all enjoyed.
Speaker 2: Yeah, that was a good work. All right, thanks John.
We're gonna take another real quick break and we have
two more picks coming up, so stick around. We'll be
right back. Hudson Riverradio dot Com.
Speaker 1: Hudson Riverradio dot Com.
Speaker 2: All right, Mercedes, I don't know if I should be
scared or not, but it's your turn.
Speaker 7: You should be so scared right now?
Speaker 6: Fair enough.
Speaker 7: So I had a couple songs and I couldn't decide
which one to pick.
Speaker 6: So I.
Speaker 7: Called Neil and I asked him which one was like
a deeper cut, and he said he didn't know either one.
So I knew I had something nice.
Speaker 6: You had me stomped nice.
Speaker 7: So full confession. I know little about Todd Rudgren who
wrote my song. Sure, I know the songs. Hello, it's me.
I saw the light, bang the drum all day. Can
we still be friends? And I know this story straight
from Wikipedia. Vun Gren began a relationship with model B B.
Buell in nineteen seventy two, and during a break in
their relationship, Buell had a brief relationship with aerosmith Stephen Tyler,
which resulted in a pregnancy. Buell gave birth to Liv Tyler,
who's now an actress, on July first, nineteen seventy seven.
Buell initially claimed that run was the biological father and
name the child Lived run Gren. Shortly after Live's birth,
run Gren and Buell ended their romantic relationship, but Rudgren
remained committed to Live and good for him. At age eleven,
Live learned that her biological father was Stephen Tyler. So,
I don't know if you know that knew that story,
but it's kind of well.
Speaker 6: I know about so.
Speaker 1: I know that, but not a lot more.
Speaker 7: I have many friends who are absolutely crazy about him,
but I just didn't get like the mainstream songs. I
did have the CD of Something Anything, which was an
album and his third album, and found a few songs
that I loved on it, but that no one ever
talked about. And maybe they all have better taste than
I have. I have no idea. Something Anything is a
double record with four sides, released in nineteen seventy two.
On the fourth side are three kind of what I
would think of as throwaway songs. They are piss Aaron,
you Left Me Sore and slut and I love all
three of these songs.
Speaker 6: So that's a trilogy right there.
Speaker 7: It really is. I was gonna use piss Aaron, which
is run Grin telling a coming of age story with
copious bodily fluids for my song today, but I went
back and listened to You left Me sore and it
made me laugh, and that's what I'm doing. Sorry, So
make sure. Maybe this is not a deep cut to
a lot of people. Really, I have absolutely no idea.
It feels like a deep cut to me. So one
thing I do want to say about piss Erin, though,
is that when I was looking it up, because I
did start to research it, I found a cover. Yeah,
a cover of piss Erin by the cold Bin Brothers
from twenty twenty twenty five. It is actually grosser than
the original because of the sound effects. Oh no, so
let's just leave it at that. Hilarious that somebody covered it. Though,
each side of the LP are described in the liner notes,
the first side of the album as a bouquet of
ear catching melodies, the second side as the cerebral side,
the third side as the Kid Gets Heavy, and the
fourth is titled Baby Needs a New Pair of Snakeskin
Boots a pop opera run. Grin played every instrument and
sang every song on the first three sides of Something Anything.
He decided to record the entire album by himself using
multi tracking. He wrote the material for the album at
a prolific rate. He attributed to his productivity to Ridlin
and cannabis, stating that the drugs caused me to crank
out songs at an incredible pace. You found some some
of the other songs quick to write two, noting they
were basically starting out with C major seventh and I'd
start moving my hand around in a predicted, predictable patterns
until a song came out. The fourth side is completely
different and includes other musicians. There is Rick Darringer on guitar,
the Brecker Brothers, Randy Brecker and Michael Brecker on Hello,
It's Me and Dustin the Wind, Barry Rogers, Mark Moogie, Klingman,
a bunch of other people that I didn't I didn't
really know. Should I tell you anyway? Brian, I feel
like you're gonna know all these people keep going see
John Ciomos, John Siegler, Amos, Garrett Ben Keith, Billy Mundy,
Tony and Hunt Sales, Rick Veto Edward James Almos, who
is a Mexican actor and director in his best known
roles as Detective Gaff in Blade Runner from nineteen eighty two,
So that's interesting. He was also in Miami Vice, the
reboot of Miami Vice, and he was the half high
school math teacher in Stand and Deliver from nineteen to
eighty eight. And he also was William Adam Mama Adam
in the reimagined Battlestary Galactica. Thank You, I knew you'd know,
Robbie Cogele, Stu Wood's Bugsy, Majean Dint Witty, Jim Horn,
and some of the background vocals are Vicki Robinson from
Turn the Beat Around and more that I also didn't know.
Speaker 2: So that's a lot.
Speaker 7: So let's hear my deep cut.
Speaker 1: Is infectious.
Speaker 19: One three four please one two one two three four infectious.
Speaker 1: I was a victim tarmers Hey suit.
Speaker 15: But still on.
Speaker 1: Doctor Moness. Good job jigging me.
Speaker 5: Use the.
Speaker 1: Best meal.
Speaker 13: I don't be baby, because you read the episode. You
didn't sell me and I didn't ask, so there's nobody
that you think you still.
Speaker 1: I don't no play second go thatdnes you really the
bad goes you left mesode.
Speaker 11: Really mess me? Of sure, I don't maybe because you read.
Speaker 1: The episode.
Speaker 6: No no.
Speaker 1: Good ever comes problem one that stand.
Speaker 4: So really you left me? So you're really an episode
and you missed me of shu A don't maybe.
Speaker 1: Because you read episode you read you le besot really empasode.
Speaker 4: You missed me I shu I don't baby because you
read episode.
Speaker 7: This has been described as a cheerful, cheerfully lilting song
about venereal disease. So I don't know if y'all caught
all the words, but it's hilarious. It's really funny. It
really is, I think, a really clever If you're.
Speaker 6: The listener not the singer, well yeah, but yeah, I
mean there was like a double one tendre in there.
Speaker 7: Is very much so oh so I love the banter
between the songs, and actually sometimes during the songs that
makes me laugh really hard. So let's talk about Todd Rundgren.
Rundgrid is a musician, singer, songwriter, and record producer, and
some of his credits as record producer include Bad Fingers
Straight Up. From nineteen seventy one, Grand Funk Railroads were
in a Mayor Band from nineteen seventy three, The New
York Dolls New York Dolls nineteen seventy three, Meat Loaves,
Bad out of Hell nineteen seventy seven, and XTC's Skylarking
from nineteen eighty six, really really brilliant stuff. He produced
Meat Loaves, Bad out of Hell because he thought the
songs were a parody of Bruce Springsteen.
Speaker 8: I will never be able to hear the album same
way I got now.
Speaker 7: He was signed on to produce Janis Joplin's third and
ultimately final album, Pearl, in nineteen seventy one, but Plants
fell through because they could not get along with each other.
I am learning along with y'all or maybe you know
this already, and it is making me think I should
not have given up my tickets to his as show
that I didn't go to. He is now a solo artist,
but it has also played with the band's Utopia and
Naz I was gonna have mentioned something about that his
music swings from sophisticated to unorthodox, as we've just heard.
On top of all this, he's kind of a genius.
It seems this is straight from Wikipedia. Okay, Rudgren is
considered a pioneer in the fields of electronic music, progressive
rock music, videos, computer software, and internet music delivery. He
organized the first interactive television concert in nineteen seventy eight,
designed the first color graphics tablet in nineteen eighty, and
created the first interactive album, No World Order in nineteen
ninety three. And now, I don't know the descriptions for
any of those, but it sounds insane to me. He
was inducted to the Rock and Roll Hall of Fame
in twenty twenty one, but decided to attend this not
to attend the ceremony because he said he was busy
banging on the drum all day. He even scheduled to
show for that same night to make sure that he
wouldn't be tempted to go. So clearly, Rungren marches to
the beat of his own drum and Neil, what we're
going to say?
Speaker 1: They so cut you off.
Speaker 6: I seem to remember there was some other band that
had the name the Naz Did you ever hear of that?
Mercedes Alice Cooper's band. Oh that's who it was, Yes, Yes,
yes I did. I thought you might have. And they
had to they had to change their name to Alice
Cooper because Todd already had the nas.
Speaker 7: Yeah. Yeah, so they had to come up with something
quick and name than Alice Cooper.
Speaker 6: You know, just ask the Ouiji board and there it
is exactly there you go.
Speaker 9: You go before bands choose a name, did they not research?
Speaker 2: There's well, I guess there was much. I still look
things up now you google it. Now you have to
hire a lawyer before you publish a song.
Speaker 6: There's websites that have every name that's ever been used. Ever,
I think, yeah, not so well yeah now, yeah, not
so when back in the late sixties.
Speaker 7: So yeah, awesome, if you had a chance, you should.
You should really listen to the song Kiss Aaron and
also Slut because they're so good, so fun.
Speaker 2: All right, it sounds like a good night to get
the family together and gather around the old church table.
Speaker 6: Okay, maybe not all right, maybe not right after Bible
study class?
Speaker 2: Yeah maybe before, maybe before, so you can get that
good deep cleanse after.
Speaker 9: I still when I read somewhere that at his home church,
Alice Cooper teaches Bible study and you guys, knowing that
I'm a church lady, I can't I that would make
my jay see how he leads a Bible studying.
Speaker 8: You should go. I think I would be distracted, like
I can't believe Alice Cooper is teaching me.
Speaker 7: I'd be running up the aisle.
Speaker 2: Hey, oh gosh, all right, yeah, starting to think some
of the crambones shouldn't be let out in public.
Speaker 6: Yeah all right, So I.
Speaker 2: Clearly misunderstood the assignment, and I think I'm going to
get in trouble with the crambones tonight. But I am
not watching that Cat's musical again, So whatever that ain't happening.
I'll just tell you that. So I've discussed before, you
know several past lives ago. I was a paramedic, and
when you say a deep cut to a paramedic, they
think something else. They're thinking more laceration or the medical
term is booboo.
Speaker 8: Oh my god.
Speaker 2: So well, what do we often put on top of
a booboo to keep it from getting infected? Band Aid?
You may may remember a jingle from the band Aid commercials,
which we're going to get to it a little bit
other than Neil, does anybody have any idea who wrote
the band aid jingle?
Speaker 6: Before we listen, you went deep on this didn't you
You've got me here?
Speaker 2: Really, I thought you were just going to drop the
ball like that.
Speaker 8: I just lost all the color in my face. I
don't even know what's coming.
Speaker 1: All right.
Speaker 2: No band Aid jingle, which will sound familiar to you
when we listened to it later, was written by none
other than Barry Manilow.
Speaker 6: Lot I think I no, yeah, okay, okay, go ahead.
Speaker 2: So Barry is from Brooklyn, New York. He is now
eighty two years old. Well, the main chassis is eighty
two years old. The other parts have been updated and
you know, firmware updates and all that kind of stuff.
He was born Barry Allen Kelleher. His father was a
truck driver of Irish descent, and his mom, Edna Manilo,
Irish on the father's side. Yep. His mom, Edna Manilo,
was from a Russian Jewish family. His parents split when
he was a baby, and it was clearly not a
good split because Edna insisted that Barry's last name be
changed to Pinkus, after an old uncle.
Speaker 9: I was gonna say, I actually knew people, or knew
of people in town when I was little, and that
was their last name.
Speaker 8: Yep, I've heard of that as a first name. I've
never heard of it as the last name.
Speaker 2: Yeah, so I think it was the uncle's first name.
I'm not one hundred percent sure, but I just think
his mom wanted to make sure his dad's name was
off the paperwork.
Speaker 7: Was that the famous detective agency?
Speaker 2: Yes, oh yeah, you're right, you're right, You're right, you're right.
Speaker 6: Yep.
Speaker 2: All right, So his name was Pinkus for a little while,
and then a few weeks before his bar Mitzvah, his
grandfather changed his last name to his mom's maiden name
of Mattelow, which is how we know him. So Barry
Madelow the original parts. Mattelow wanted to study music. He
got a job in the mail room at CBS in
New York City to help pay for tuition and all
of his expenses. Excuse me is the season, and he
soon became known as the piano playing male boy. Okay.
He took night classes at the New York College of Music,
which later merged with NYU, and then he transferred to Juilliard,
which bad. I didn't know. I didn't know he went
to Juilliard.
Speaker 6: Yeah.
Speaker 2: One benefit of working at CBS was that he could
use their rehearsal space, which had full sized Yamaha Grand
pianos that he got to play as opposed to the
little upright piano that his stepfather actually bought for him
back at the apartment. So he would work days in
the mailroom, he would take evening classes at Juilliard, he
would play in the rehearsal space, and he would play
piano in bars at night around New York City. Excuse me.
He got promoted to file clerk at CBS, which is
not just paper files. That is like tapes and recordings
and like legit stuff, putting your hands on historical broadcasts
and all that kind of stuff. So that was actually
a big promotion, and that started to give him connections
to be an accompanist to other artists playing piano. The
boy I'm gonna have to do some editing here. In
nineteen sixty four, CBS asked him to arrange a few
songs for a musical version of a play titled The Drunkard,
which is actually a melodrama, even though it sounds like
it should be a comedy.
Speaker 6: I think it's my autobiography.
Speaker 2: It could be maybe it was you. Instead of a
few songs, he took it upon himself to write an
entire score for the musical, which CBS actually liked. They
used it, and it also wound up having an eight
year run off Broadway in New York City, not bad
for the first big project out of the gate. He
was then allowed to take leave and he went on
the road as part of a band. By the time
he got back, CBS then asked him to be the
music director of a new show called Callback, which featured
new artists, young and up and coming kind of musicians
and all that. This was nineteen sixty seven. Then they
asked him to arrange a new theme song and do
some music work for the At Sullivan Show. So he's
working hard. He paid his dues, I'll give him that.
In nineteen sixty nine, he was signed as a musician
as a performer to Columbia CBS Music, and he would
go on to write and perform a ton of hits.
Gay he was composing for television, and then he moved
into writing commercial jingles. In an interview, Barry Manilowe said,
I learned the most about music working in the jingle industry.
It was the best music college I could ever imagine.
What I learned most of all in my jingle days
was how to write a catchy melody, which is true
because you listen to a lot of his stuff. That's
it's the earworm kind of stuff, you know. He wrote
a lot of jingles. He wrote a jingle called Feeling
Free for PEPSI. He wrote one called the Bathroom Bowl
Blues for the Green Bowling It Cleaner.
Speaker 1: Oh boy, uh huh uh.
Speaker 2: Let me play you one from nineteen seventy seven, because
this one will probably sound familiar to you.
Speaker 1: I drink Doctor Pemper, and I'm brown. I used to
be alone in a crowd, but.
Speaker 14: Now you look around home these days, this seems to
be a doctor Pepper craze.
Speaker 1: I'm a bemper. He's a beper, she's aper apper. Wouldn't
you like to be a bemper?
Speaker 2: Two?
Speaker 1: I'm a bember. He's a pepper. She's a pepper. If
you drink doctor Pepper, you're a pepper. Two, as bempers
are an interesting bream. An original taste is what we need.
Speaker 17: Asking a pepper an of sea only doctor Pepper taste
that way.
Speaker 1: I'm a member, he's a Pepper's a member? Ware a
pepper would you like to be a two from a member?
He's a Veber's a beer where a member? Would you
like to be a member?
Speaker 16: Two?
Speaker 1: Be amber Dream Doctor Pemper, Come.
Speaker 2: All right, Doctor Pepper didn't pay for that, so they
have to send us a case.
Speaker 6: But oddly enough, I feel like having a Dr Pepper
right now.
Speaker 2: I want to go earworm right even back day, I
am not. But he that melody, that jingle that would
stick in your head side note that was sung and
performed in the commercial by David Naughton, who would go
on to an.
Speaker 7: American werewolf werewolf in London.
Speaker 2: Yeah, Barry wrote you deserve a break today at McDonald's.
You may remember, even though he says he only tried.
He says he tried McDonald's once, which in my opinion
is one too many, But you do you. He was
also hired to sing on jingles written by himself and others,
including Randy Newman, who was big in the jingle industry
at the time. He jokingly said that his greatest hit
is the state Farm jingle, which he wrote in nineteen
seventy one. You know a good neighbor state farm is there?
He wrote that one take a while guess how much
money he made off of that over his career.
Speaker 6: Ten cents anybody else, I would say, jingle writing is
actually pretty lucrative.
Speaker 2: Million Okay, Neil, you want to throw a number out there,
I'll go.
Speaker 6: For a million. Yeah. I mean, you know you could
you could live very comfortably on the royalties from jingle writing.
Speaker 2: Well, that depends because he.
Speaker 6: Got it if you signed the right contract.
Speaker 2: He got a five hundred dollars flat fee as a
composer and that is it. And he made a joke
that the woman who sang it is on her third
rolls Royce because you get residuals as a performer, not
as a composer when you're working.
Speaker 6: For I was afraid that was going to be the
you know the case that's.
Speaker 2: Crazy Fred Bucks. And they're still using the jingle today.
Speaker 1: Wow.
Speaker 2: But in all fairness, he said that five hundred bucks
was a lot of money back then and he was
happy to get it. So he doesn't seem to be
too bitter about it.
Speaker 9: You know the spoof on that ad, right, No, like
a good neighbor stay over there.
Speaker 2: Oh that's fantastic. I agree.
Speaker 6: I'll give you five hundred dollars not to sing that anymore.
Speaker 7: So that brings us to galea Gale.
Speaker 8: If you're going to sing spoofs, then you're gonna have
to do it on the show. Oh, no problem, single,
you want fair enough?
Speaker 6: All right?
Speaker 2: That brings us to nineteen seventy one, when he wrote
the band Aid jingle stuck on band Aid. He got
a Cleo Award for that. The Cleo Awards were started
in nineteen fifty nine to recognize excellence in advertising. Also,
you know, excellence in emptying people's wallets, I suppose. So
here's my deep cut pick literally the band Aid jingle
from nineteen seventy one.
Speaker 1: I am saying.
Speaker 11: I am stuck on band Aid because band Aid stuck
on me.
Speaker 6: I announcing an improved stay on it. He's a band
Aid branded, he's a bandages from Johnson and Johnson.
Speaker 14: You'll notice the difference because it stays on you better
than anything else you.
Speaker 2: Can buy anything. Again, very catchy, right, simple melody.
Speaker 6: I want that announcer's voice. That's what I want.
Speaker 1: Right.
Speaker 2: Oh yeah, man, start smoking. I mean, don't don't actually
do that, but you know that's.
Speaker 6: No. I tried it. It didn't get me. That for us.
Speaker 2: So, uh, Barry Manilow, he's still going. The amount of
material he's put out, the number of tours he was on, residencies,
TV specials, just way too much to cover now. Unfortunately,
he's been undergoing treatment for lung cancer since last Christmas time.
Last week inter but he seems to be on the mend.
He had to postpone a bunch of tour dates, but
as of now, he's on schedule to be back on
stage by the end of March. Wow, so apparently.
Speaker 8: Pretty does he still have a Vegas residency that?
Speaker 2: Yeah, March I think starts to the Vegas Residency and
he has other dates in between two. So I hate
to admit it. As a kid, I would never go
see him at this point, I would go, I go,
the guy's been doing it for so long. He's clearly
doing something right.
Speaker 6: You know. So if I'm if I'm not mistaken, I think, well,
at least one of the times I was in Vegas,
he wasn't doing his show there at his residency, but
it's the same room that Elvis did his so it
was yeah, so he he kind of took over Elvis's
his room so to speak.
Speaker 2: Sure, cool, So there you go. I hope I'll be
forgiven for misunderstanding the Actually.
Speaker 10: Taking the topic literally is the most briant thing I've
ever heard.
Speaker 6: He was going to say, I think it's pretty damn clever.
Speaker 1: I'm to say that that was a deep cut, Brian.
Speaker 2: All right, good, good, good good. So I skated through
this one. Excellent cool. Yeah, we'll keep you on, all right,
I appreciate it. Excellent cool. So I think that's my
cue to pull the plug before you all change your mind.
And yeah, so let's wrap it up. You guys have
anything to add before we skid outle for the night.
I think, uh, these were good.
Speaker 6: I like it.
Speaker 2: It's one of those topics that you could go in
any direction because I mean deep cuts.
Speaker 9: Is I really like topics like that?
Speaker 6: Yeah?
Speaker 9: Wait, they don't limit us.
Speaker 7: Yeah, I have a question. Okay, if you're talking about
doing deep cuts in your way, where do we go
from there?
Speaker 2: I don't know. We may have to revisit truckle back
on this one. All right, Well, thank you cram Bones
for your excellent selections, all the hard work, and thank
you all for joining us here for the rock and
roll history your show. Be sure to check out all
the other shows we do here at Hudson River Radio
because there is something for everybody. I think we're back
next week with another new episode. Pretty sure, don't know
what it's gonna be, but we'll figure it out as
we go along. Until then, have a great weekend, Thanks
again for joining us, and peace out.
Speaker 6: Everybody.
Speaker 15: Come a rock.
Speaker 3: Cop bottom it trum.
Speaker 16: Okay, Bye bye.
Speaker 2: Hudson River Radio dot com a subsidiary of Glacier Entertainment LLC,
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