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<v Speaker 1>Hudson Riverradio dot Com.

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<v Speaker 2>I work hard for the money, so hard for the money.

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<v Speaker 2>Oh way, dumping dumping money. Come on, give me lot

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<v Speaker 2>of money.

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<v Speaker 3>How does Sasa Jonnithan Diasberry juice?

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<v Speaker 4>Hey, this is Tom Chapin.

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<v Speaker 5>Hello, just preaching in Rock and Roll History Show.

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<v Speaker 3>You're listening right now.

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<v Speaker 4>Hey, everybody, welcome back to the Rock and Roll History

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<v Speaker 4>Show on Hudson River Radio. I'm Brian Horowitz. Tonight, we

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<v Speaker 4>are gonna do a topic that comes up every once

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<v Speaker 4>in a while. We're gonna check out some interesting covers

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<v Speaker 4>of original tunes. And I'm always intrigued by the selections

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<v Speaker 4>because it's always something that I'm not expecting. So I

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<v Speaker 4>like these episodes and I'm looking forward to it. But

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<v Speaker 4>as always, before we hop in, allow me to introduce

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<v Speaker 4>all the crambones who are joining us here tonight. First

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<v Speaker 4>and foremost, from the Richter Observatory, he says, you should

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<v Speaker 4>never criticize someone until you walk a mile in their shoes,

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<v Speaker 4>because then you'll be a mile away and you'll have

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<v Speaker 4>their shoes. L Richtor is back tonight.

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<v Speaker 6>How you doing everybody good?

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<v Speaker 4>Plan From in Paranormal Yours, she says the difference between

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<v Speaker 4>a well dressed person on a bicycle and a poorly

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<v Speaker 4>dressed person on a tricycle is a tire gale.

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<v Speaker 3>Nucle is here, Oh.

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<v Speaker 7>Wow, okay everybody.

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<v Speaker 4>And from the silver screen she saw a Russian mule

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<v Speaker 4>walk into a bar. The bartender says, hey, we have

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<v Speaker 4>a drink named after you, and the mule says, you

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<v Speaker 4>have a drink named Ivan.

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<v Speaker 6>Yes, hey, everybody, I love that.

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<v Speaker 4>Excellent. And last but not least, the host of shaving

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<v Speaker 4>Cream she just found out that orcas are technically porpoises.

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<v Speaker 4>They just do a killer whale impression revealed, Oh the groans.

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<v Speaker 4>I love the groans.

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<v Speaker 1>Very good, Brian.

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<v Speaker 4>Hey everyone, so welcome back cram Bones. And like I said,

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<v Speaker 4>I'm looking forward to hearing tonight's selections, and Neil, you're

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<v Speaker 4>gonna kick us off.

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<v Speaker 2>You know, just in general, the topic of covers and

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<v Speaker 2>and and artists who do covers, it's really there's there's

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<v Speaker 2>two schools of thought.

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<v Speaker 3>I think. One is that.

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<v Speaker 2>You you copy the song almost entirely verbatim, you know,

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<v Speaker 2>and make it sound mainly in in bands that you know,

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<v Speaker 2>like bar bands. Okay that and the other is where

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<v Speaker 2>the school that I grew up in was that you

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<v Speaker 2>would take a song and pretty much make it your own,

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<v Speaker 2>be creative with it instead of just like, you know,

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<v Speaker 2>doing it note for note. Yeah, and the board.

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<v Speaker 4>Even when you look at orchestras, every orchestra that does

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<v Speaker 4>a symphony does it. That's their interpretation of it's.

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<v Speaker 2>Even if you're doing it. You know, if you're doing it,

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<v Speaker 2>you know straight so to speak. You know, the each

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<v Speaker 2>individual instrument or each person adds their own little thing

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<v Speaker 2>to it. So it does give it a little more

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<v Speaker 2>of a it's different. It makes it your own, you know.

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<v Speaker 2>And I've always gone with that other than and there's

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<v Speaker 2>nothing wrong with you know, technical ability, you know, being

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<v Speaker 2>able to copy everything note for note. I'm not saying

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<v Speaker 2>that that's a bad thing at all. I think a

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<v Speaker 2>little a balance of both is the best way to go,

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<v Speaker 2>is the way I'm thinking. I like creativity possibly a

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<v Speaker 2>little better than technical superiority, but that's just me.

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<v Speaker 3>But the song I've.

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<v Speaker 2>Chosen for this topic today is called Heartbreak Hotel.

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<v Speaker 3>Now.

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<v Speaker 2>It's a song that was originally recorded by Elvis Presley.

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<v Speaker 2>I think everyone knows he's the king of rock and roll,

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<v Speaker 2>and if you don't know, who Elvis was. I then,

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<v Speaker 2>you know, I really don't.

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<v Speaker 4>Go back to episode one.

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<v Speaker 2>Yeah, yeah, So suffice to say he was one of

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<v Speaker 2>the most musically and culturally significant figures of the twentieth century.

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<v Speaker 2>And his impact is still being felt today. And I

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<v Speaker 2>think as of this taping, his birthday was just yesterday

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<v Speaker 2>or the day before. So yeah, and people are still

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<v Speaker 2>celebrating it now. Heartbreak Hotel was released as a single

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<v Speaker 2>in January of nineteen fifty six, so that's seventy years ago, right, wow.

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<v Speaker 2>And it was on the RCA label, to whom Presley

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<v Speaker 2>had just recently signed with, and the record was an

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<v Speaker 2>unqualified smash hit. It was Presley's first million seller and

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<v Speaker 2>one of the best selling singles that year. It topped

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<v Speaker 2>the Billboard Top one hundred for seven weeks, the Cash

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<v Speaker 2>Bock Pop Single chart for six weeks, the Country Western

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<v Speaker 2>chart for seventeen weeks, and it only reached number three

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<v Speaker 2>on the R and B charts. Oh too bad guy

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<v Speaker 2>only number three. It was eventually certified double platinum by

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<v Speaker 2>the ri double A. Heartbreak Hotel was written by May

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<v Speaker 2>Bourn Axton and Tommy Durden, and while Elvis isn't generally

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<v Speaker 2>knows as a songwriter himself, thus making most of his

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<v Speaker 2>songs covers. I guess he has given songwriting credit for

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<v Speaker 2>Heartbreak Hotel, and I think that was kind of one

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<v Speaker 2>of the conditions that he agreed to record it, as

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<v Speaker 2>they put my name on the writing credit.

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<v Speaker 4>That was the kernel that I appreciate it. That's why

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<v Speaker 4>he didn't do I Will Always Love You when Dolly Parton.

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<v Speaker 4>He wanted to do that, and Parker said, he gets

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<v Speaker 4>half of the songwriter, and she said, you know.

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<v Speaker 2>Go and crash, and Colonel Parker got half of what

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<v Speaker 2>Elvis made.

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<v Speaker 3>So yeah, there you go. Yeah, I wasn't going to

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<v Speaker 3>go there, but yeah, it's all. It's all Colonel point.

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<v Speaker 2>The song itself is a standard eight bar blues progression,

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<v Speaker 2>and the recording contains the trademark rockabilly reverb that Elvis

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<v Speaker 2>used on his earlier recordings on the Sun label. But

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<v Speaker 2>now for the words. They were inspired by a newspaper

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<v Speaker 2>article about a man who would jumped from a hotel

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<v Speaker 2>window allegedly and left a note that simply said, I

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<v Speaker 2>walk a lonely street. That's pretty grim stuff, particularly for

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<v Speaker 2>nineteen fifty six and rock and roll. But let's fast

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<v Speaker 2>forward about twenty years to nineteen seventy five, when Welsh

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<v Speaker 2>musician and former Velvet Underground number John Kale beleased his cover.

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<v Speaker 3>Version of Hartbreak Hotel and took it to a whole

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<v Speaker 3>new level.

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<v Speaker 8>Since my baby is left me, I found a new placed.

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<v Speaker 9>At twelve.

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<v Speaker 6>Down at the end of long.

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<v Speaker 4>Street, Break Hotel.

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<v Speaker 6>So long.

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<v Speaker 8>Long love the baby, the bellhops, tears, keep long, the

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<v Speaker 8>desk clouds dressed in black.

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<v Speaker 4>They have been so long, long long this street.

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<v Speaker 10>They never will get back.

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<v Speaker 11>Cousin feeling so long, black baby, feeling something, feeling so

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<v Speaker 11>long baby.

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<v Speaker 8>So if you are bad.

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<v Speaker 12>You and you have a take to town.

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<v Speaker 9>We're just keeps.

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<v Speaker 8>Take a lot down long straight.

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<v Speaker 12>To halt Break Hotel where you could be.

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<v Speaker 13>And could be, so.

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<v Speaker 9>You could be so long.

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<v Speaker 3>Could now? Is that right out of a horror movie?

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<v Speaker 4>Or what is that's a Halloween song?

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<v Speaker 3>That riff is just oh it just I think it's great.

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<v Speaker 7>I love the backup singers. I like that better than

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<v Speaker 7>the original. Thank you very much well.

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<v Speaker 3>John Klee.

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<v Speaker 2>He was born in Wales back in nineteen forty two. Again,

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<v Speaker 2>he's a musician, composer and record producer and as I mentioned,

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<v Speaker 2>earlier a founding member of the very influential American band

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<v Speaker 2>The Velvet Underground along with Lou reed I appeared on

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<v Speaker 2>their first two albums, I Believe the Velvet Underground. In

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<v Speaker 2>his sixty plus year career, he has worked in various

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<v Speaker 2>styles of rock and avarant guard music. His version of

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<v Speaker 2>Heartbreak Hotel appears on his fifth solo LP called Slow

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<v Speaker 2>Dazzle Again from nineteen seventy five. Kel's cover of Heartbreak

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<v Speaker 2>Hotel was called one of the best cover songs ever

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<v Speaker 2>recorded by music critic Ned Raggett and ok Ned. Over

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<v Speaker 2>the years, Kel has released a slew of solo and

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<v Speaker 2>collaborative albums, as well as producing records for the likes

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<v Speaker 2>of Patty Smith, the LP Horses in particular, which just

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<v Speaker 2>celebrated its fiftieth anniversary, the band Squeeze, and the Modern

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<v Speaker 2>Lovers with Jonathan Richmond. He even worked as a talent

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<v Speaker 2>scout for a while for Island Records. Kel also recorded

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<v Speaker 2>a cover version of Leonard Cohen's song Hallelujah back in

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<v Speaker 2>nineteen ninety one. Now, his version didn't get too much interest,

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<v Speaker 2>but Jeff Buckley's cover, which used Cale's arrangement, it achieved

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<v Speaker 2>quite a bit of popularity. John Kele was inducted into

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<v Speaker 2>the Rock and Roll Hall of Fame as a member

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<v Speaker 2>of the Velvet Underground nineteen ninety six, and as of

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<v Speaker 2>this taping, at eighty three years old, he is still

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<v Speaker 2>recording and performing new music. And yes, I did see

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<v Speaker 2>him perform you were waiting for that one. I saw

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<v Speaker 2>him in fact a number of occasions, mostly at CBGB's

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<v Speaker 2>down in New York City in the late nineteen seventies,

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<v Speaker 2>and his version of Heartbreak Hotel was always a highlight

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<v Speaker 2>of the set. It always brought down the house, so

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<v Speaker 2>to speak.

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<v Speaker 3>So that's it. That's my cover for tonight.

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<v Speaker 4>Excellent.

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<v Speaker 6>It reminded me a little bit of Sounds of Silence

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<v Speaker 6>that Gail did a while back.

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<v Speaker 3>And I was disturbed.

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<v Speaker 4>Disturbed, Yeah, David dream thinking the guy's name.

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<v Speaker 6>Oh I did go to sea after hearing that song.

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<v Speaker 4>Yeah, they're legit. I would definitely go see that.

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<v Speaker 6>Yeah, amazing.

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<v Speaker 2>Yeah, it's got that same kind of like existential dread

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<v Speaker 2>hanging over it like.

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<v Speaker 3>Like a shroud.

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<v Speaker 4>You could have said that that was released this year

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<v Speaker 4>and I would have believed that.

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<v Speaker 1>It's still It kind of reminds me of the soundtrack

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<v Speaker 1>to Queen of the Damned like Adopted Anne Rice. That's

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<v Speaker 1>what it reminds me of.

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<v Speaker 7>It actually reminds me a little bit of the American

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<v Speaker 7>Horror Story season that was called Hotel.

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<v Speaker 4>Hmm. Nice. I have a side note if I can

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<v Speaker 4>go off on a tangent, because you mentioned you mentioned

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<v Speaker 4>that the echo sound and.

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<v Speaker 2>Elvis is originally that reverb sound.

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<v Speaker 4>Yeah, so that Sam Phillips came up with that. We

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<v Speaker 4>talked about this long time ago. I'm not going to

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<v Speaker 4>be the original or in Elvis's version, so you know,

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<v Speaker 4>I'm not going to go through the whole story again.

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<v Speaker 4>But Sam Phillips at Sun Records came up with that technique.

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<v Speaker 4>It was called slap back echo, which he wound up

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<v Speaker 4>using two reel to real tape machines to make an

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<v Speaker 4>echo that didn't really exist. So it was one of

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<v Speaker 4>the one of, if not the first, artificial echo reverb sounds.

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<v Speaker 4>And RCA bought Elvis's contract from Sun Records, which is

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<v Speaker 4>how we wound up over at RCA and they were

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<v Speaker 4>trying to record Heartbreak Hotel and they couldn't figure out

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<v Speaker 4>how to make that sound, so they went back to

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<v Speaker 4>Sam Phillips and said, well, how do you get this?

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<v Speaker 4>And he's, you know, basically said, you bought Elvis, she

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<v Speaker 4>didn't buy my technique.

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<v Speaker 3>So go scratch so that that that that sound is

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<v Speaker 3>a st Yeah.

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<v Speaker 4>But RCA could not figure out how to do it.

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<v Speaker 4>They tried concrete rooms, they tried putting speakers at one

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<v Speaker 4>end of a long hallway and microphones at the other,

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<v Speaker 4>and they kept trying to figure out how Sam Phillips

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<v Speaker 4>did it. They could not figure out how he made

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<v Speaker 4>that sound for a long time. So heartbreak hotel Elvis's version.

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<v Speaker 4>It's echo, but it's not slapback. It's not Sam Phillips.

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<v Speaker 4>Sam Phillips' sound. It's different, you know. So give them

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<v Speaker 4>props for trying, and props to Sam Phillips for telling them.

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<v Speaker 2>Uh the record. The record did pretty well though.

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<v Speaker 4>I know somehow we did well regardless, you know. So yeah,

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<v Speaker 4>I love those stories, you know. On top of the song,

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<v Speaker 4>I can just.

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<v Speaker 6>Picture the two engineers running around the studio just for

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<v Speaker 6>like days on end of no sleep, trying to figure

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<v Speaker 6>out how to make that yeah.

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<v Speaker 2>Yeah, And now you can go buy a little box,

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<v Speaker 2>you know, at a music store and plug your guitar

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<v Speaker 2>and it sounds.

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<v Speaker 4>Now, it's just a plug in on your computer and

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<v Speaker 4>your software right right, you know, the amps come built

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<v Speaker 4>in with it, with the modelers and all that. You

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<v Speaker 4>don't even need a pedal anymore. So it's crazy. So

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<v Speaker 4>that was awesome. Yeah, that was a That was a

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<v Speaker 4>perfect lead off. But we're going to take a break

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<v Speaker 4>and we have a lot more coming up, so stick around.

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<v Speaker 4>We'll be right back, Hudson River Radio dot com. We

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<v Speaker 4>could be worse. This concludes the first part of this cassette.

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<v Speaker 4>Please turn the cassette over and begin again on side

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<v Speaker 4>to Hudson River Radio dot com and welcome back. I

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<v Speaker 4>know Gail that you're going to have something unusual and

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<v Speaker 4>a deep cut for us.

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<v Speaker 3>So what have you got?

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<v Speaker 7>Neil's presentation is definitely a very hard act to follow.

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<v Speaker 1>It always is.

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<v Speaker 7>Yes, I just kind of picked a song that I

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<v Speaker 7>liked that I never knew there was a cover of,

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<v Speaker 7>and the cover isn't all that different from the original.

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<v Speaker 7>I chose Walking with a Ghost, which the original was

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<v Speaker 7>by Tegan and Sarah. They're a pair of Canadian sisters.

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<v Speaker 6>Love that song and.

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<v Speaker 7>They when they performed it. It came out in two

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<v Speaker 7>thousand and four, now. Sarah wrote the song while living

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<v Speaker 7>in Montreal, and she said, it's kind of a cheesy

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<v Speaker 7>metaphor for walking around the city feeling like the person

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<v Speaker 7>I wanted to date was hanging out with me, but

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<v Speaker 7>they weren't. Some would call it an imaginary friend. I

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<v Speaker 7>call it a ghost. Many years later, in two thousand

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<v Speaker 7>and sixteen six twenty sixteen, Tagan and Sarah appeared on

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<v Speaker 7>the parody talk show Comedy Bang Bang, which I've never

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<v Speaker 7>heard of.

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<v Speaker 4>Maybe it really Yes, Shocker Barber knows a content.

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<v Speaker 7>And she explained jokingly on that show that the ghost

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<v Speaker 7>in question was slimer from the Ghostbuster's French. Why not

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<v Speaker 7>so the cover that I didn't know about until I

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<v Speaker 7>was digging around deciding on a choice for this episode.

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<v Speaker 7>The cover was by the White Stripes the year after that,

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<v Speaker 7>in two thousand and five on an EP and it's

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<v Speaker 7>it doesn't sound that much different from the original to me,

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<v Speaker 7>It's got a little bit of an edge to it.

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<v Speaker 7>One review of White Stripes cover of this stated, this

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<v Speaker 7>genial cover sounds singularly unpersuasive, a performance unlikely to challenge

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<v Speaker 7>anyone's previously held opinions about The Stripes Chigan and Sarah

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<v Speaker 7>walking or ghosts so I guess they weren't impressed.

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<v Speaker 4>But I just like the song.

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<v Speaker 7>It's cute, so let's.

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<v Speaker 3>Hear it now.

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<v Speaker 5>Man, let's way you go. No man, you stay of

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<v Speaker 5>my mind, out of mind, out of my mind, out

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<v Speaker 5>of my mind.

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<v Speaker 14>I was fucking with the ghast.

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<v Speaker 5>I sat.

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<v Speaker 9>Noting, said the mon shaye goat, you mouth sway steady,

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<v Speaker 9>out of my mind, out of mynd, out of my mind,

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<v Speaker 9>out of my mind. I was fucking the coast.

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<v Speaker 7>Un set.

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<v Speaker 5>Said that's fucking go. I said, please, don't sest. I

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<v Speaker 5>was fucking with the ghast.

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<v Speaker 14>Sai, no chest, no moth sway, your.

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<v Speaker 9>Mother sway, shade, out of my mind, out of my mind,

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<v Speaker 9>out of my mind, out of my mind.

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<v Speaker 5>I was smoking with the ghost. I said, don't exist.

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<v Speaker 14>I was walking with the ghost. I sest, no chest

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<v Speaker 14>nor mother sway.

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<v Speaker 5>But anyway.

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<v Speaker 6>With me, I like the original.

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<v Speaker 4>I love I do too.

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<v Speaker 6>I find so much softer with the female voices. I

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<v Speaker 6>just spookier.

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<v Speaker 7>And they they did acoustic guitar apparently, and Jack White

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<v Speaker 7>did electure. But with me, for the longest time, it

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<v Speaker 7>was misheard lyrics because when they say please, don't insist.

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<v Speaker 7>I thought they were singing please don't Exist, which.

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<v Speaker 5>Gives a whole.

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<v Speaker 3>Way right.

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<v Speaker 7>Yeah, so yeah, I I do prefer like Mercedes does

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<v Speaker 7>the Chigan and Sarah version. But I thought this was interesting.

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<v Speaker 7>And apparently when this came out the year after Tigan

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<v Speaker 7>and Sarah's came out, it reflected on them and brought

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<v Speaker 7>them to the forefront after White Stripes covered it.

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<v Speaker 2>Yeah, I guess yeah, because White Stripes were already pretty

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<v Speaker 2>munch established by by then. I mean, and you said, yeah,

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<v Speaker 2>the difference between the electric and acoustic guitar he does.

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<v Speaker 2>He gets some interesting sounds out of that guitar. And

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<v Speaker 2>I have to I have to say, I I think

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<v Speaker 2>Meg White is like one of the best rock and

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<v Speaker 2>roll drummers ever. There I said it because nothing fancy.

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<v Speaker 2>She says, boom boo boo.

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<v Speaker 3>That's it.

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<v Speaker 2>That's all you need, you don't need anymore. And that's

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<v Speaker 2>what she does. And I'm glad they're in the rock

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<v Speaker 2>and Roll Hall of Fame. He has an interesting voice too,

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<v Speaker 2>that's yeah.

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<v Speaker 4>I mean, I've yeah, I've seen him, and he's got

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<v Speaker 4>a wonderful reputation. Everybody that works with him loves him.

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<v Speaker 4>And you know, I get it.

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<v Speaker 2>We just Mercedes and I just saw him over the

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<v Speaker 2>last Fall and I had never seen him before, and

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<v Speaker 2>I was like, wow, he does know what he's doing.

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<v Speaker 7>Yeah, yeah, jealous of men that can sing higher than me.

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<v Speaker 4>All right, thank you, Gail. Moving on, Barbara, what have

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<v Speaker 4>you got for us?

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<v Speaker 1>Okay, Well for my song choice, I am first going

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<v Speaker 1>to take us back to nineteen thirty eight. Mister Walt

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<v Speaker 1>Disney was feeling nostalgic about remembering stories he had heard

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<v Speaker 1>during his childhood, in particular the Uncle Remus stories by

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<v Speaker 1>Joel Chandler Harris. Disney wanted to put those stories to film.

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<v Speaker 1>He had this idea, but after World War Two, the

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<v Speaker 1>Disney Studios experienced some financial difficulty due to the lack

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<v Speaker 1>of foreign markets during wartime, and that plus a union

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<v Speaker 1>strike in nineteen forty one, led Disney to consider adding

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<v Speaker 1>live action films to its current lineup of animated films

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<v Speaker 1>for which they were contracted. In nineteen thirty nine, Disney

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<v Speaker 1>purchased the rights to the Uncle Remas stories from author

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<v Speaker 1>Harris's family and began to develop a screenplay. Disney also

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<v Speaker 1>traveled to the author's Georgia home. The following year in

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<v Speaker 1>the hopes of getting what he called an authentic feeling

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<v Speaker 1>of Uncle Remus country in order to present a faithful

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<v Speaker 1>story adaptation. In nineteen forty four, filming finally began, and

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<v Speaker 1>the studio ended up combining animation with live action, although

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<v Speaker 1>at the start they were leaning towards having it entirely animated.

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<v Speaker 1>Disney hired professional Righte Dalton Raymond to write the screenplay. Raymond,

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<v Speaker 1>being a native Southerner, produced an outline which contains some

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<v Speaker 1>terminology that the studio demanded be removed, such as characters

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<v Speaker 1>referring to Remis as an old darkie and referring to

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<v Speaker 1>white characters as massa. The film Song of the South

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<v Speaker 1>ended up being the only screenplay that Raymond would write.

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<v Speaker 1>Since its nineteen forty sixth release, the film has been

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<v Speaker 1>associated with controversy as critics have been characterizing its portrayal

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<v Speaker 1>of African Americans and plantation life as racist. This has

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<v Speaker 1>resulted in the film never having been released on home

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<v Speaker 1>video or streaming platforms. However, the film's featured song, Zippidy DooDah,

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<v Speaker 1>won the nineteen forty seven Academy Award for Best Original Song,

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<v Speaker 1>and the actor who portrayed Uncle Remus. James Basket received

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<v Speaker 1>an Academy Honorary Award for his performance. So I'm sure

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<v Speaker 1>most of us are familiar with the song of the

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<v Speaker 1>South version of Zippity Doo Dah. But now let's flash

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<v Speaker 1>forward from nineteen forty six to nineteen sixty two and

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<v Speaker 1>listen to the song as recorded.

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<v Speaker 5>By Bobby Socks and the Blue Jeans.

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<v Speaker 4>Zip one Bo.

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<v Speaker 15>Well, ma, stop, well, no, absolute, every thing's gonna be.

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<v Speaker 9>Somebody do syby what wonder old.

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<v Speaker 10>Oh mas.

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<v Speaker 14>Sover love.

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<v Speaker 5>Fuck no thanks Na beginn.

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<v Speaker 14>S body, dude, what the fuck.

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<v Speaker 9>Wonder?

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<v Speaker 14>What the fuck.

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<v Speaker 9>Wonderful?

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<v Speaker 14>What the fuck.

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<v Speaker 15>Okay?

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<v Speaker 1>So, Bob the Socks and the Blue Jeans were in

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<v Speaker 1>early nineteen sixties vote group produced by Phil Spector that

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<v Speaker 1>featured lead vocals by Bobby Sheen, who adopted the stage

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<v Speaker 1>name of Bob b Socks and the Blue Jeans, which

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<v Speaker 1>consisted of Darlene Love and Fanita James Nice. I probably

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<v Speaker 1>don't have to really tell you who they are. Both

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<v Speaker 1>Darlene and Fanita were also members of the girl group

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<v Speaker 1>The Blossoms. Sheen was the official group leader, but after

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<v Speaker 1>the release of Zippity DooDah, Specter either had Sheen and

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<v Speaker 1>Love share lead vocal duties or used Love as the

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<v Speaker 1>primary vocalist. The only official album the group recorded was,

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<v Speaker 1>in fact, Zippity DooDah, although Spector did produce a Christmas

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<v Speaker 1>album in nineteen sixty three called A Christmas Gift for

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<v Speaker 1>You from Phil Spector, where Sheen was credited as lead

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<v Speaker 1>vocalists and Love appears as a solo artist.

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<v Speaker 6>And that's credited with something that's amazing.

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<v Speaker 1>I actually I actually follow her on Facebook, Darlene Love.

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<v Speaker 15>Oh.

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<v Speaker 1>Yeah, she is so kind and so lovely. She I

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<v Speaker 1>recommend her Facebook page.

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<v Speaker 4>Yeah, we saw it. We've seen her many times. But

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<v Speaker 4>one time they brought us backstage because my daughter was

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<v Speaker 4>young enough and we got pictures and she was an

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<v Speaker 4>absolute sweetheart with my daughter. And her husband is so

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<v Speaker 4>low key, the complete opposite of her, Like he's quiet

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<v Speaker 4>one one syllable answers and all that, but the nicest

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<v Speaker 4>guy to talk to. So I'm wondering when you listen

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<v Speaker 4>to that, because it is a Phil Spector thing, and

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<v Speaker 4>he did do a lot of studio magic, as crazy

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<v Speaker 4>as he was. It sounds like it was recorded at

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<v Speaker 4>a higher speed and played back slower and they sung

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<v Speaker 4>over a slower tape.

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<v Speaker 3>I can hear that. I can hear what you're saying. Yeah,

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<v Speaker 3>So I while it was.

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<v Speaker 4>Playing, I'm furiously looking stuff up. I couldn't find anything

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<v Speaker 4>to back that up.

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<v Speaker 1>But I find anything either. When I was researching it.

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<v Speaker 1>I was trying to find, you know, little details and

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<v Speaker 1>things like that, but I didn't find anything like that.

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<v Speaker 4>Yeah, I'm wondering if that's just you know, in the toolbox,

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<v Speaker 4>something that he did and it just wasn't discussed or

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<v Speaker 4>thought about. So cool, so cool, Thank you, Barbara.

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<v Speaker 6>Big Big, Jim and I interviewed Darlene Love Yeah.

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<v Speaker 4>Years ago at the old station from where I pilfered

429
00:31:13.960 --> 00:31:15.160
<v Speaker 4>you many years ago.

430
00:31:16.480 --> 00:31:21.279
<v Speaker 6>She was amazing and my daughter's band, New Myths. The

431
00:31:21.440 --> 00:31:26.440
<v Speaker 6>drummer from New Myths plays the Christmas shows with Darlene

432
00:31:26.480 --> 00:31:26.839
<v Speaker 6>every year.

433
00:31:27.079 --> 00:31:30.720
<v Speaker 4>Nice oh nice and her on again off against saxophone

434
00:31:30.720 --> 00:31:33.839
<v Speaker 4>player depending on the band is in the tokens and

435
00:31:33.920 --> 00:31:36.759
<v Speaker 4>his friends with other I mean, I've known him now

436
00:31:36.920 --> 00:31:39.920
<v Speaker 4>through other hosts from here a Hudson River Radio. Everything

437
00:31:40.000 --> 00:31:42.240
<v Speaker 4>ties together, yep, which is why I try to be

438
00:31:42.359 --> 00:31:44.480
<v Speaker 4>nice to everybody, because you never know when it's gonna

439
00:31:44.519 --> 00:31:48.759
<v Speaker 4>come back exactly. So, yeah, especially in the music world,

440
00:31:48.799 --> 00:31:50.920
<v Speaker 4>do you get you know, if the circles are smaller

441
00:31:50.960 --> 00:31:55.079
<v Speaker 4>than you might think, and everybody knows somebody that knows somebody.

442
00:31:54.839 --> 00:31:57.759
<v Speaker 6>And it's best to keep them all on your side.

443
00:31:57.880 --> 00:32:01.000
<v Speaker 4>Absolutely, I mean, just be nice and general, but you know,

444
00:32:01.440 --> 00:32:04.920
<v Speaker 4>especially if that's your livelihood, something to keep in mind.

445
00:32:05.559 --> 00:32:08.400
<v Speaker 4>So all right, thanks Bob. We're gonna take a real

446
00:32:08.480 --> 00:32:10.559
<v Speaker 4>quick break and we have two more coming up, so

447
00:32:10.720 --> 00:32:13.720
<v Speaker 4>stick around Hudson Riverradio dot com.

448
00:32:21.599 --> 00:32:23.799
<v Speaker 3>This is Hudson River Radio dot com.

449
00:32:25.039 --> 00:32:27.960
<v Speaker 4>All right, we're down to our final two. Mercedes, you're up.

450
00:32:29.640 --> 00:32:30.039
<v Speaker 3>Okay.

451
00:32:30.480 --> 00:32:33.279
<v Speaker 6>So I did things a little differently for the show.

452
00:32:33.680 --> 00:32:36.359
<v Speaker 6>I didn't really follow the directions, even though I was

453
00:32:36.400 --> 00:32:42.119
<v Speaker 6>the one that suggested that, I know, I'm such a rebel.

454
00:32:43.079 --> 00:32:45.359
<v Speaker 3>You make the rules, you break the rules. That's it.

455
00:32:46.440 --> 00:32:48.079
<v Speaker 6>I took a song that I think a lot of

456
00:32:48.119 --> 00:32:51.000
<v Speaker 6>people know and went back to find the very first version.

457
00:32:52.039 --> 00:32:54.960
<v Speaker 6>And this happened because, having nothing to do with this show,

458
00:32:55.079 --> 00:32:57.240
<v Speaker 6>I had come across an early version of this song.

459
00:32:57.279 --> 00:33:00.519
<v Speaker 6>It was pretty excited, but color me surprise when I

460
00:33:00.640 --> 00:33:03.839
<v Speaker 6>found there was an even earlier version. And I suggest

461
00:33:03.920 --> 00:33:06.759
<v Speaker 6>that you grab a pencil to keep notes because yes,

462
00:33:07.319 --> 00:33:11.119
<v Speaker 6>it gets complicated. So my song for this show is

463
00:33:11.240 --> 00:33:14.200
<v Speaker 6>titled Stranded in the Jungle and it was made famous

464
00:33:14.319 --> 00:33:17.559
<v Speaker 6>most recently by The New York Dolls in nineteen seventy four.

465
00:33:18.279 --> 00:33:20.319
<v Speaker 6>It was released on their second album and was the

466
00:33:20.400 --> 00:33:23.880
<v Speaker 6>album's first single release. When The New York Dolls began

467
00:33:24.160 --> 00:33:28.279
<v Speaker 6>work on this album with producer George Shadow Morton, they

468
00:33:28.319 --> 00:33:31.720
<v Speaker 6>weren't prepared with enough songs, so the band the band

469
00:33:31.799 --> 00:33:34.920
<v Speaker 6>added oldies in with their originals, and the band was

470
00:33:34.960 --> 00:33:37.799
<v Speaker 6>already a fan of Morton from his work with the

471
00:33:37.880 --> 00:33:42.559
<v Speaker 6>Shangri Las. He was famous for writing Remember Walking in

472
00:33:42.640 --> 00:33:45.759
<v Speaker 6>the Sand and Leader of the Pack for the girl group.

473
00:33:46.519 --> 00:33:50.599
<v Speaker 6>Martin's sixties soul aesthetic blended seamlessly with the New York

474
00:33:50.680 --> 00:33:55.240
<v Speaker 6>Dolls heavy sound. The song features singer David Johansson using

475
00:33:55.440 --> 00:34:00.359
<v Speaker 6>character voices while backed by female dooop vocalists. It didn't

476
00:34:00.400 --> 00:34:04.440
<v Speaker 6>do well commercially. Be commercially, it became a cult album

477
00:34:04.599 --> 00:34:07.599
<v Speaker 6>and cemented the New York Dolls legacy as a proto

478
00:34:07.839 --> 00:34:11.440
<v Speaker 6>punk and glam band. The Dolls were pivotal to the

479
00:34:11.559 --> 00:34:15.639
<v Speaker 6>development of punk rock in the UK with the Sex Pistols,

480
00:34:15.719 --> 00:34:18.880
<v Speaker 6>The Clash and the Damned and kiss Aarrasmith and Guns

481
00:34:18.920 --> 00:34:22.880
<v Speaker 6>and Roses have cited the New York Dolls as primary influences,

482
00:34:23.039 --> 00:34:26.599
<v Speaker 6>not to mention the glam hard rock movement in general,

483
00:34:26.760 --> 00:34:31.400
<v Speaker 6>which includes Twisted Sister, Motley, Crue, Poison, on and on.

484
00:34:32.960 --> 00:34:37.320
<v Speaker 6>About the song, music critic Robert Christigau says, on Stranded

485
00:34:37.400 --> 00:34:41.239
<v Speaker 6>in the Jungle, David Johansson alternates between a comical reject

486
00:34:41.320 --> 00:34:45.280
<v Speaker 6>and a lecherous man at lovers Lane. I was surprised

487
00:34:45.320 --> 00:34:47.719
<v Speaker 6>to find that the song was a cover of The Cadets,

488
00:34:48.840 --> 00:34:52.920
<v Speaker 6>originally the Jacks if you're keeping score, their nineteen fifty

489
00:34:53.000 --> 00:34:55.639
<v Speaker 6>six hit. I'd always thought it was an original by

490
00:34:55.679 --> 00:34:58.440
<v Speaker 6>the Dolls, but I also felt it was a weird

491
00:34:58.599 --> 00:35:01.760
<v Speaker 6>song for them to do, And when I dug a

492
00:35:01.840 --> 00:35:05.320
<v Speaker 6>little deeper, I found the Cadets song was not even

493
00:35:05.400 --> 00:35:09.360
<v Speaker 6>the original. The original original was by the Jayhawks from

494
00:35:09.639 --> 00:35:13.960
<v Speaker 6>nineteen fifty six, same year as the Cadets version, and

495
00:35:14.360 --> 00:35:18.280
<v Speaker 6>a version by the Gadabouts was released a few weeks later,

496
00:35:18.480 --> 00:35:22.079
<v Speaker 6>and that one peaked at number thirty nine. The Jayhawks

497
00:35:22.199 --> 00:35:25.440
<v Speaker 6>version went to number eighteen. They had another hit with

498
00:35:25.519 --> 00:35:29.159
<v Speaker 6>the song the Watusi in nineteen sixty one, and also

499
00:35:29.320 --> 00:35:31.639
<v Speaker 6>had a hit at the same time with Peanut Butter

500
00:35:32.320 --> 00:35:35.000
<v Speaker 6>under the name The Marathons, which is a really good

501
00:35:35.079 --> 00:35:37.639
<v Speaker 6>song if you get a chance to look it up.

502
00:35:38.320 --> 00:35:42.039
<v Speaker 6>The Marathons had another hit with a rewritten version by

503
00:35:42.119 --> 00:35:46.480
<v Speaker 6>the name of Hully Gully, originally by the Olympics, which

504
00:35:46.599 --> 00:35:50.000
<v Speaker 6>was covered by The Beach Boys, Chubby Checker, the Searchers,

505
00:35:50.320 --> 00:35:53.280
<v Speaker 6>the Jay Giles Band, which I could not find on YouTube,

506
00:35:53.840 --> 00:35:57.360
<v Speaker 6>and more. Back in the forties and fifties, bands covered

507
00:35:57.400 --> 00:36:00.920
<v Speaker 6>and released other people's band song all the time, often

508
00:36:01.239 --> 00:36:04.840
<v Speaker 6>reinterpreting older blues, R and B and country hits, turning

509
00:36:04.920 --> 00:36:08.880
<v Speaker 6>them into new pop sensations. Many new music genres were

510
00:36:08.920 --> 00:36:15.280
<v Speaker 6>emerging at that time. The Marathons, remember previously. The Jayhawks

511
00:36:15.880 --> 00:36:20.239
<v Speaker 6>also released a song titled My Girl Sloopy in nineteen

512
00:36:20.360 --> 00:36:24.039
<v Speaker 6>sixty four, which reached number twenty six and was later

513
00:36:24.199 --> 00:36:29.039
<v Speaker 6>covered by the McCoy's as hang On Sloopy, which was

514
00:36:29.119 --> 00:36:32.440
<v Speaker 6>a number one hit for them. Incidentally, it became one

515
00:36:32.480 --> 00:36:35.480
<v Speaker 6>of the first songs recorded by the Yardbirds with guitarist

516
00:36:35.559 --> 00:36:39.360
<v Speaker 6>Jeff Beck. Side note, the inspiration for hang On Sloopy

517
00:36:39.679 --> 00:36:43.800
<v Speaker 6>was most likely inspired by Dorothy Sloop, a jazz singer

518
00:36:43.880 --> 00:36:49.159
<v Speaker 6>from Steubenville, Ohio. Her nickname was Sloopy. Okay, so back

519
00:36:49.199 --> 00:36:51.880
<v Speaker 6>to the song Stranded in the Juggle if you've lost

520
00:36:51.960 --> 00:36:55.199
<v Speaker 6>track where we are or what we're talking about. The

521
00:36:55.360 --> 00:36:58.320
<v Speaker 6>Jayhawks were an American doo wop group and the song

522
00:36:58.440 --> 00:37:01.599
<v Speaker 6>was written by Ernestine's Myth and the band's first tenor,

523
00:37:01.719 --> 00:37:07.320
<v Speaker 6>James Johnson. So today we're gonna hear the Jay Hawkins

524
00:37:07.519 --> 00:37:09.760
<v Speaker 6>version of Stranded in the Jungle.

525
00:37:17.280 --> 00:37:19.840
<v Speaker 16>I crashed in the jungle while trying to keep my

526
00:37:19.960 --> 00:37:23.199
<v Speaker 16>date with my little girl, who was back in the States.

527
00:37:23.360 --> 00:37:27.000
<v Speaker 16>I was spending in the jungle of grade alone, trying

528
00:37:27.079 --> 00:37:29.280
<v Speaker 16>to figure a way to get a message back home.

529
00:37:29.679 --> 00:37:32.159
<v Speaker 16>But how was I to know that the regulam I'm

530
00:37:32.159 --> 00:37:35.519
<v Speaker 16>playing having big Father father at my girl loves name.

531
00:37:36.280 --> 00:37:57.320
<v Speaker 10>Meanwhile, back in the States, BOMR.

532
00:37:48.079 --> 00:37:51.920
<v Speaker 9>All time and I got a jazz.

533
00:37:57.639 --> 00:37:58.760
<v Speaker 10>Come up baby.

534
00:37:59.840 --> 00:38:10.639
<v Speaker 13>Meanwhile, back in the jungle, the boys and the Jungle

535
00:38:10.760 --> 00:38:13.760
<v Speaker 13>had me on the run, or something heavy hit me,

536
00:38:14.000 --> 00:38:15.079
<v Speaker 13>like in Atomic Call.

537
00:38:15.840 --> 00:38:18.840
<v Speaker 16>When I woke up, my head started clear and I

538
00:38:19.039 --> 00:38:21.960
<v Speaker 16>had a strange feeling. I was with cooking gear. I

539
00:38:22.079 --> 00:38:25.360
<v Speaker 16>smelled something cooking and I looked to see. That's when

540
00:38:25.440 --> 00:38:27.679
<v Speaker 16>I found out they was cooking.

541
00:38:27.400 --> 00:38:47.800
<v Speaker 10>Me meanwhile back in the state time standing in the jungle.

542
00:38:47.880 --> 00:38:59.000
<v Speaker 16>Standing meanwhile, back in the jungle, I jumped out the

543
00:38:59.119 --> 00:39:02.920
<v Speaker 16>pots and I finally got away, frantic with worry. When

544
00:39:03.000 --> 00:39:05.280
<v Speaker 16>the web, my baby would say, So, I jumped in

545
00:39:05.400 --> 00:39:08.480
<v Speaker 16>a potion and started to swim, while my chance of

546
00:39:08.599 --> 00:39:12.000
<v Speaker 16>the Bible getting mighty slimp. So I thumb not away.

547
00:39:12.079 --> 00:39:15.199
<v Speaker 16>I was head my way and I reached the stats,

548
00:39:15.400 --> 00:39:18.480
<v Speaker 16>and I have a day. When I got the level lanes,

549
00:39:18.519 --> 00:39:22.280
<v Speaker 16>I was almost sins, but I so was gone. Here's

550
00:39:22.320 --> 00:39:30.039
<v Speaker 16>what I said, baby, baby, that man is all gone.

551
00:39:32.440 --> 00:39:39.960
<v Speaker 5>Oh, baby, baby, you should have understood. You can't trust

552
00:39:40.079 --> 00:39:43.079
<v Speaker 5>me as long as I free. So come back, Grady,

553
00:39:43.199 --> 00:39:45.920
<v Speaker 5>maybe where you used to be. Because I love you,

554
00:39:47.960 --> 00:39:52.960
<v Speaker 5>Because I love you. I love that version.

555
00:39:54.280 --> 00:39:58.119
<v Speaker 6>I think it's great. Supposedly in this version, a telephone

556
00:39:58.159 --> 00:40:00.360
<v Speaker 6>can be heard ringing in the background. I I have

557
00:40:00.559 --> 00:40:04.199
<v Speaker 6>not heard it, so I don't know as far as

558
00:40:04.239 --> 00:40:06.480
<v Speaker 6>the meaning. I don't think I really have to explain anything.

559
00:40:06.519 --> 00:40:08.719
<v Speaker 6>A guy stranded in the jungle while he's supposed to

560
00:40:08.760 --> 00:40:10.880
<v Speaker 6>be on a date with his girl in Lover's Lane.

561
00:40:11.599 --> 00:40:15.280
<v Speaker 2>Why is he in the which happens all the time doesn't.

562
00:40:18.559 --> 00:40:21.280
<v Speaker 4>Albuquerque very inconvenient.

563
00:40:21.599 --> 00:40:23.880
<v Speaker 6>So back in the state, the mother guy is creeping

564
00:40:23.920 --> 00:40:26.159
<v Speaker 6>on his woman. The boys in the jungle catch the

565
00:40:26.239 --> 00:40:27.920
<v Speaker 6>jungle guy and start to put him on a pot

566
00:40:27.960 --> 00:40:30.039
<v Speaker 6>to cook them. He escapes and catches a ride on

567
00:40:30.119 --> 00:40:34.480
<v Speaker 6>a whale, as one does. He gets back in half

568
00:40:34.519 --> 00:40:36.840
<v Speaker 6>a day. Half a day, I don't know where this

569
00:40:36.960 --> 00:40:43.079
<v Speaker 6>jungle is pretty close, he gets, yeah, and when when

570
00:40:43.119 --> 00:40:45.800
<v Speaker 6>he gets back to lover's lane, his girl has gone

571
00:40:45.840 --> 00:40:46.960
<v Speaker 6>off with the other guy.

572
00:40:47.119 --> 00:40:47.800
<v Speaker 3>Is that right though?

573
00:40:47.960 --> 00:40:51.920
<v Speaker 6>Is that the right ending? I've heard so many versions

574
00:40:51.960 --> 00:40:54.880
<v Speaker 6>of it, and I swear sometimes she's still there.

575
00:40:54.920 --> 00:40:57.000
<v Speaker 4>And you know what, even if she did or didn't,

576
00:40:57.039 --> 00:41:02.239
<v Speaker 4>good riddance for entertaining the thought. You don't need that,

577
00:41:03.000 --> 00:41:03.519
<v Speaker 4>that's true.

578
00:41:05.280 --> 00:41:06.800
<v Speaker 6>I don't need that negativity in.

579
00:41:07.079 --> 00:41:10.440
<v Speaker 4>Her life, his life. Yeah, right, right, right right.

580
00:41:11.360 --> 00:41:13.719
<v Speaker 6>So something that I thought was super cute that came

581
00:41:13.800 --> 00:41:17.159
<v Speaker 6>up when I was researching under the YouTube video was

582
00:41:17.440 --> 00:41:21.480
<v Speaker 6>three comments. These three comments, for the record, the original

583
00:41:21.519 --> 00:41:24.800
<v Speaker 6>writer of this song is my mother, Ernestine Smith, which

584
00:41:24.840 --> 00:41:27.519
<v Speaker 6>I thought was really cute, and then it says rip mommy.

585
00:41:28.480 --> 00:41:31.440
<v Speaker 6>And next one was my grandfather was in this group,

586
00:41:31.639 --> 00:41:34.679
<v Speaker 6>Cleo White, And the other one was my aunt co

587
00:41:34.880 --> 00:41:38.159
<v Speaker 6>wrote the song. I just think that was really cute.

588
00:41:38.199 --> 00:41:39.440
<v Speaker 6>It was very touching when.

589
00:41:39.280 --> 00:41:41.079
<v Speaker 1>I love reading YouTube comments.

590
00:41:41.320 --> 00:41:44.519
<v Speaker 4>I know, I know me too. That's cool.

591
00:41:45.119 --> 00:41:45.639
<v Speaker 12>So that's it.

592
00:41:46.280 --> 00:41:49.559
<v Speaker 6>And you know, Brian and I were talking about the

593
00:41:50.079 --> 00:41:54.039
<v Speaker 6>Cadutch version, which I really like that version.

594
00:41:54.159 --> 00:41:59.199
<v Speaker 4>Also it's more polished. The baritone voice is a little

595
00:41:59.760 --> 00:42:03.559
<v Speaker 4>more natural, I think, yeah, for sure, but they're both.

596
00:42:03.800 --> 00:42:09.679
<v Speaker 6>It's really this book's really raw. Yeah, obviously early stuff.

597
00:42:09.920 --> 00:42:11.800
<v Speaker 6>And I just think that's really cool.

598
00:42:11.960 --> 00:42:14.159
<v Speaker 4>That's awesome, and it's cool. You know, that was a

599
00:42:14.239 --> 00:42:17.119
<v Speaker 4>time when a song was published, which is going to

600
00:42:17.199 --> 00:42:20.079
<v Speaker 4>lead into mind, a song was published and anybody, if

601
00:42:20.119 --> 00:42:22.119
<v Speaker 4>you paid for it, you can put it out, which

602
00:42:22.159 --> 00:42:24.440
<v Speaker 4>you can still do today, you know, depending on who

603
00:42:24.519 --> 00:42:27.280
<v Speaker 4>owns it, which that's a whole nother story. But back then,

604
00:42:27.360 --> 00:42:29.199
<v Speaker 4>the song would be published and then you just pay

605
00:42:29.280 --> 00:42:30.800
<v Speaker 4>for it and you can put it out, and you

606
00:42:30.840 --> 00:42:33.599
<v Speaker 4>would see multiple versions of the same song by a

607
00:42:33.639 --> 00:42:35.440
<v Speaker 4>whole bunch of different groups, all coming out at the

608
00:42:35.480 --> 00:42:35.920
<v Speaker 4>same time.

609
00:42:36.199 --> 00:42:38.920
<v Speaker 6>I mean, in this one, three of them, three of

610
00:42:39.000 --> 00:42:42.400
<v Speaker 6>the versions came out of the same year, within months

611
00:42:42.440 --> 00:42:45.440
<v Speaker 6>of each other. Yeah, which is wild. Now you wouldn't

612
00:42:45.559 --> 00:42:46.280
<v Speaker 6>think of that, you.

613
00:42:46.800 --> 00:42:49.199
<v Speaker 4>Guess what happens with my pick that we're going to

614
00:42:49.280 --> 00:42:49.760
<v Speaker 4>talk about.

615
00:42:51.960 --> 00:42:55.519
<v Speaker 6>Well, I apologize for not doing following the rules, but

616
00:42:55.679 --> 00:42:58.559
<v Speaker 6>I just I had a great time to Well.

617
00:42:58.679 --> 00:43:02.559
<v Speaker 4>Also, guess what I did, by complete coincidence, I did

618
00:43:02.599 --> 00:43:03.800
<v Speaker 4>the exact same thing you did.

619
00:43:03.960 --> 00:43:04.480
<v Speaker 12>You did.

620
00:43:04.599 --> 00:43:08.920
<v Speaker 4>I went backwards to the original I did so great

621
00:43:09.039 --> 00:43:15.840
<v Speaker 4>minds I know, and us too. So yeah, all right,

622
00:43:15.920 --> 00:43:18.800
<v Speaker 4>So we talked about Fats Domino. It's been a long time,

623
00:43:18.840 --> 00:43:21.760
<v Speaker 4>but we talked about Fats Domino. While ago a home

624
00:43:21.840 --> 00:43:24.800
<v Speaker 4>body of New Orleans, didn't really like the tour, loved

625
00:43:24.840 --> 00:43:27.079
<v Speaker 4>the food, New Orleans didn't want to leave it, had

626
00:43:27.159 --> 00:43:29.880
<v Speaker 4>problems when he you know, when New Orleans got flooded

627
00:43:29.920 --> 00:43:33.519
<v Speaker 4>out during the hurricane and all that. But his biggest

628
00:43:33.599 --> 00:43:35.639
<v Speaker 4>hit is one I don't remember if we talked about

629
00:43:35.840 --> 00:43:39.440
<v Speaker 4>his version of this. It was his biggest hit. It

630
00:43:39.559 --> 00:43:42.519
<v Speaker 4>has become a rock and roll standard, Blueberry Hill in

631
00:43:42.639 --> 00:43:44.760
<v Speaker 4>nineteen fifty six. I don't remember if this was the

632
00:43:44.800 --> 00:43:47.800
<v Speaker 4>song we talked about. I think we did. But okay,

633
00:43:48.599 --> 00:43:50.920
<v Speaker 4>Rolling Stone ranked at number eighty two of the five

634
00:43:51.039 --> 00:43:53.199
<v Speaker 4>hundred Greatest Songs of All Time. Anytime you see a

635
00:43:53.239 --> 00:43:56.000
<v Speaker 4>list like this, I'm like, okay, whatever, But you know,

636
00:43:56.440 --> 00:44:00.360
<v Speaker 4>it does show its historical significance as a song in

637
00:44:00.440 --> 00:44:03.639
<v Speaker 4>rock history. But obviously, since we're talking about it here,

638
00:44:04.079 --> 00:44:06.360
<v Speaker 4>his was a cover. His was the cover of the original.

639
00:44:06.440 --> 00:44:08.360
<v Speaker 4>So I went all the way back to the beginning.

640
00:44:09.400 --> 00:44:13.079
<v Speaker 4>The music for Blueberry Hill was composed by Vincent Rose.

641
00:44:13.679 --> 00:44:16.480
<v Speaker 4>But you're gonna need a pencil, same thing with Mercedes,

642
00:44:16.599 --> 00:44:19.960
<v Speaker 4>all right, So write this down. Keep writing, yeah, keep writing.

643
00:44:20.039 --> 00:44:24.159
<v Speaker 4>So the music was composed by Vincent Rose born Vincenzo Cacciopo,

644
00:44:24.840 --> 00:44:29.119
<v Speaker 4>a bandleader, composer, piano player, violinist who was born in

645
00:44:29.280 --> 00:44:32.320
<v Speaker 4>Italy and moved to New York City. He was born

646
00:44:32.480 --> 00:44:35.920
<v Speaker 4>back in eighteen eighty died in nineteen forty four, and

647
00:44:36.039 --> 00:44:40.360
<v Speaker 4>wrote over two hundred songs for RCA, Columbia and other labels.

648
00:44:41.239 --> 00:44:44.119
<v Speaker 4>The lyrics for Blueberry Hill were written by Larry Stock

649
00:44:44.239 --> 00:44:48.960
<v Speaker 4>and al Lewis. Larry Stock was born Lazarus Goldberger in

650
00:44:49.119 --> 00:44:53.599
<v Speaker 4>eighteen ninety six in Manhattan. At age twelve, he was

651
00:44:53.719 --> 00:44:57.039
<v Speaker 4>accepted into the Institute of Musical Art in New York City,

652
00:44:57.519 --> 00:45:00.920
<v Speaker 4>which would later be renamed the Juilliards School, which may

653
00:45:01.000 --> 00:45:05.559
<v Speaker 4>sound familiar, So that's pretty good. Age twelve he graduated. Yeah,

654
00:45:05.679 --> 00:45:09.559
<v Speaker 4>he graduated at sixteen and continued to study music and

655
00:45:09.639 --> 00:45:13.519
<v Speaker 4>piano afterwards. This was during the Great Depression, so not

656
00:45:13.639 --> 00:45:15.880
<v Speaker 4>many people could afford to go out to the big

657
00:45:16.119 --> 00:45:20.440
<v Speaker 4>formal concerts, so Larry made ends meet by playing nightclubs

658
00:45:20.880 --> 00:45:24.599
<v Speaker 4>and writing songs during his own downtime. He died in

659
00:45:24.719 --> 00:45:27.559
<v Speaker 4>nineteen eighty four, so he got to see a lot

660
00:45:27.639 --> 00:45:31.079
<v Speaker 4>of rock and roll history come al Lewis, not Grandpa

661
00:45:31.199 --> 00:45:33.400
<v Speaker 4>Lewis from the Monster's a different al Lewis because I

662
00:45:33.480 --> 00:45:37.480
<v Speaker 4>know what he neo was chopping at the ben and barber,

663
00:45:37.599 --> 00:45:40.960
<v Speaker 4>But no different al Lewis. He was born in nineteen

664
00:45:41.000 --> 00:45:43.400
<v Speaker 4>oh one and spent most of his career writing lyrics

665
00:45:43.480 --> 00:45:46.199
<v Speaker 4>in tin pan Alley. His other big hit was co

666
00:45:46.360 --> 00:45:49.119
<v Speaker 4>writing Tears on My Pillow, made a big hit by

667
00:45:49.159 --> 00:45:52.880
<v Speaker 4>Little Anthony in the Imperials. He died in nineteen sixty seven,

668
00:45:52.960 --> 00:45:54.800
<v Speaker 4>so he also got to see a lot of rock

669
00:45:54.800 --> 00:45:58.559
<v Speaker 4>and roll come about. They all wrote so many songs

670
00:45:58.639 --> 00:46:01.000
<v Speaker 4>that have just been forgotten in his history, and so

671
00:46:01.159 --> 00:46:03.360
<v Speaker 4>many of them now are in the public domain. So

672
00:46:03.480 --> 00:46:06.840
<v Speaker 4>we're talking about covers. There's so much good stuff out

673
00:46:06.880 --> 00:46:08.880
<v Speaker 4>there if you can put the time into digging them

674
00:46:08.960 --> 00:46:11.840
<v Speaker 4>up and do it for free. Now you don't have

675
00:46:11.960 --> 00:46:14.599
<v Speaker 4>to pay for them anymore. Make your own versions. So

676
00:46:15.360 --> 00:46:18.280
<v Speaker 4>get to work, everybody, those of you looking for that

677
00:46:18.440 --> 00:46:20.679
<v Speaker 4>next hit. It's out there, it's already written. You just

678
00:46:20.719 --> 00:46:23.880
<v Speaker 4>got to go find it. So Blueberry Hill was first

679
00:46:23.880 --> 00:46:27.360
<v Speaker 4>published in nineteen forty by Chapel and Company, which was

680
00:46:27.519 --> 00:46:31.639
<v Speaker 4>a British music publisher and piano manufacturer. Believe it or not,

681
00:46:32.480 --> 00:46:36.079
<v Speaker 4>they sold off the piano manufacturing side to focus solely

682
00:46:36.159 --> 00:46:39.320
<v Speaker 4>on music publishing, probably because it's easier to move sheet

683
00:46:39.440 --> 00:46:44.519
<v Speaker 4>music than pianos. Having done both, they started in eighteen

684
00:46:44.599 --> 00:46:47.920
<v Speaker 4>eleven when sheet music was the thing. There were no

685
00:46:48.039 --> 00:46:51.880
<v Speaker 4>recordings back then, but they created such a good reputation

686
00:46:52.079 --> 00:46:56.000
<v Speaker 4>for themselves that a composer by the name of Ludwig

687
00:46:56.119 --> 00:47:01.840
<v Speaker 4>von Beethoven inquired about them publishing of his pieces. That's

688
00:47:01.880 --> 00:47:04.880
<v Speaker 4>how far back we're going. And they were still in

689
00:47:05.039 --> 00:47:09.079
<v Speaker 4>existence at this point. Chapel was ultimately brought out by

690
00:47:09.360 --> 00:47:12.480
<v Speaker 4>Warner Music Group, which just ruins everything in nineteen eighty

691
00:47:12.519 --> 00:47:16.719
<v Speaker 4>seven for two hundred million dollars. Not too bad. So

692
00:47:16.880 --> 00:47:20.000
<v Speaker 4>as soon as Blueberry Hill was published, a whole bunch

693
00:47:20.039 --> 00:47:22.119
<v Speaker 4>of different artists jumped all over it. They knew it

694
00:47:22.199 --> 00:47:24.800
<v Speaker 4>was going to be a hit. The Glenn Miller Orchestra

695
00:47:25.719 --> 00:47:28.000
<v Speaker 4>made a recording of it. They missed putting out the

696
00:47:28.079 --> 00:47:32.000
<v Speaker 4>first recording by thirteen days, but it still became a hit.

697
00:47:32.119 --> 00:47:36.119
<v Speaker 4>We never talked about Glenn Miller, have we. That's a

698
00:47:36.159 --> 00:47:38.280
<v Speaker 4>good story. Yeah, he got lost at sea during World

699
00:47:38.320 --> 00:47:41.920
<v Speaker 4>War two. Yeah, so yeah, yeah, there's a good story there.

700
00:47:42.920 --> 00:47:45.880
<v Speaker 4>Louis Armstrong did it. Elvis did a version, Little Richard

701
00:47:45.920 --> 00:47:48.840
<v Speaker 4>did a version. Jerry Lee Lewis did a version. Kuntless

702
00:47:48.880 --> 00:47:52.920
<v Speaker 4>international groups did versions of it around the world. Fats

703
00:47:52.960 --> 00:47:55.480
<v Speaker 4>Domino was the one who made it the definitive version,

704
00:47:55.599 --> 00:47:58.719
<v Speaker 4>but he was not the first. The first recording of

705
00:47:58.760 --> 00:48:02.360
<v Speaker 4>Blueberry Hill was recorded in nineteen forty, right after it

706
00:48:02.480 --> 00:48:06.280
<v Speaker 4>was published by a very popular bandleader named Sammy Kay.

707
00:48:07.719 --> 00:48:12.119
<v Speaker 4>Swing and sway with Sammy Kay. That was his trademark,

708
00:48:12.239 --> 00:48:15.880
<v Speaker 4>kind of catchphrase, so swinging and swaying. He was born

709
00:48:16.039 --> 00:48:22.079
<v Speaker 4>samuelke Zarnik or zarn Ok, I'm not really sure, but

710
00:48:22.199 --> 00:48:25.719
<v Speaker 4>he shortened it to Sammy Kay. He was born in Lakewood, Ohio,

711
00:48:25.840 --> 00:48:30.360
<v Speaker 4>in nineteen ten. He studied saxophone and clarinet at Ohio University,

712
00:48:30.880 --> 00:48:33.800
<v Speaker 4>but he never played as a feature artist himself. He

713
00:48:33.920 --> 00:48:36.480
<v Speaker 4>was all about putting the bands together and being the

714
00:48:36.519 --> 00:48:39.039
<v Speaker 4>director and doing all that kind of stuff. He also

715
00:48:39.119 --> 00:48:41.440
<v Speaker 4>had a big string of hits, including a song titled

716
00:48:41.800 --> 00:48:45.199
<v Speaker 4>Remember Pearl Harbor, which they recorded ten days after the

717
00:48:45.719 --> 00:48:49.280
<v Speaker 4>Japanese attack on Pearl Harbor. He would also do an

718
00:48:49.280 --> 00:48:53.039
<v Speaker 4>audience participation thing, inviting an audience member to come up

719
00:48:53.079 --> 00:48:56.280
<v Speaker 4>and try to conduct the swing and Sway band, and

720
00:48:56.440 --> 00:48:59.440
<v Speaker 4>then that audience member got to keep the baton that

721
00:48:59.559 --> 00:49:02.519
<v Speaker 4>they were trying to conduct the band with. I'm hoping

722
00:49:02.559 --> 00:49:04.480
<v Speaker 4>the band didn't really pay too much attention to the

723
00:49:04.519 --> 00:49:06.000
<v Speaker 4>conductor because that would be a train run.

724
00:49:06.079 --> 00:49:08.320
<v Speaker 1>Wow, that's like a rolling Stones guitar pick.

725
00:49:08.440 --> 00:49:13.039
<v Speaker 4>I have nice. Yeah I can't prove it, but yeah,

726
00:49:13.280 --> 00:49:16.280
<v Speaker 4>it's okay. It's cool to have. And you know the story.

727
00:49:16.679 --> 00:49:21.000
<v Speaker 4>So Sammy Kay died in nineteen eighty seven in Ridgewood,

728
00:49:21.039 --> 00:49:23.880
<v Speaker 4>New Jersey, not far from here. I played in the

729
00:49:23.920 --> 00:49:26.960
<v Speaker 4>Ridgewood Symphony, So I'm there. I don't know where his

730
00:49:27.039 --> 00:49:29.599
<v Speaker 4>house is, but I'm going to start knocking on doors

731
00:49:29.639 --> 00:49:31.360
<v Speaker 4>and see did Sammy Kay live here?

732
00:49:31.519 --> 00:49:32.280
<v Speaker 3>Get out of here.

733
00:49:34.280 --> 00:49:38.719
<v Speaker 4>I'm talking about. So this is the first recording of

734
00:49:38.760 --> 00:49:42.840
<v Speaker 4>Blueberry Hill from May thirty first, nineteen forty The Sammy

735
00:49:42.920 --> 00:49:47.199
<v Speaker 4>Kay Orchestra with vocals by Tommy Ryan. Tommy Ryan was

736
00:49:47.280 --> 00:49:50.719
<v Speaker 4>born Are you writing all these down? Okay? All right?

737
00:49:50.840 --> 00:49:54.320
<v Speaker 4>So Tommy Ryan was born Nathan Levine in nineteen twenty one.

738
00:49:55.000 --> 00:49:57.719
<v Speaker 4>Could not sound more Jewish, which is why he changed

739
00:49:57.760 --> 00:50:01.639
<v Speaker 4>it to Tommy Ryan, which could be none more generic,

740
00:50:02.519 --> 00:50:05.119
<v Speaker 4>which is exactly why he did it. He played guitar

741
00:50:05.280 --> 00:50:08.960
<v Speaker 4>and sang in big bands. He sang on Broadway. He

742
00:50:08.960 --> 00:50:11.440
<v Speaker 4>would wind up leaving show business because he wanted to

743
00:50:11.559 --> 00:50:15.599
<v Speaker 4>chase the money. He opened restaurants, He got into rare

744
00:50:15.719 --> 00:50:20.039
<v Speaker 4>coin dealer ships kind of stuff. He bought race horses.

745
00:50:20.440 --> 00:50:22.199
<v Speaker 4>He died in two thousand and seven, so he was

746
00:50:22.239 --> 00:50:27.000
<v Speaker 4>around for a long time. So let's play Blueberry Hill

747
00:50:27.039 --> 00:50:30.320
<v Speaker 4>by Sammy k. The first minute or so is just

748
00:50:30.440 --> 00:50:33.480
<v Speaker 4>an instrumental and listening to it, all I can picture

749
00:50:34.719 --> 00:50:37.280
<v Speaker 4>is back when everybody used to dress formal, no matter

750
00:50:37.360 --> 00:50:39.880
<v Speaker 4>what you did. The suit and tie, the fancy dresses

751
00:50:40.159 --> 00:50:42.400
<v Speaker 4>and carrying the picnic basket and walking up a hill.

752
00:50:42.719 --> 00:50:45.119
<v Speaker 4>That's all I can imagine when you're listening to this

753
00:50:45.239 --> 00:50:48.239
<v Speaker 4>first minute or so, So let me play it. Tell

754
00:50:48.320 --> 00:50:49.320
<v Speaker 4>me what you think let's.

755
00:50:49.239 --> 00:50:49.639
<v Speaker 3>Check it out.

756
00:50:50.559 --> 00:52:04.079
<v Speaker 12>On Blueberry A beautiful picture in these words by Tommy Ryan.

757
00:52:06.039 --> 00:52:08.079
<v Speaker 3>I found my triad.

758
00:52:09.760 --> 00:52:15.440
<v Speaker 12>On Blueberry Hell, on Blueberry here.

759
00:52:17.400 --> 00:52:18.679
<v Speaker 10>When I found you.

760
00:52:21.039 --> 00:52:23.039
<v Speaker 17>The moon stood stand.

761
00:52:24.719 --> 00:52:26.599
<v Speaker 3>On blueberry.

762
00:52:28.480 --> 00:52:34.079
<v Speaker 12>And lingered until my dreams came true.

763
00:52:35.880 --> 00:52:41.079
<v Speaker 17>The wind in the willow play love sweet mellowed.

764
00:52:43.639 --> 00:52:47.840
<v Speaker 9>But all of those bars we made were.

765
00:52:47.920 --> 00:52:48.800
<v Speaker 12>Never to be.

766
00:52:51.119 --> 00:52:59.199
<v Speaker 17>The will upon. You're part of me still, for you

767
00:52:59.480 --> 00:53:04.159
<v Speaker 17>were my true on Blueberry Hell.

768
00:53:49.840 --> 00:53:52.360
<v Speaker 4>Slightly different take than Fat Phenomena did a.

769
00:53:52.360 --> 00:53:55.400
<v Speaker 7>Few years later, right, This was much more innocent.

770
00:53:55.800 --> 00:54:01.320
<v Speaker 4>Right, But it was sixteen years apart, and Fats Nomenal

771
00:54:01.400 --> 00:54:04.119
<v Speaker 4>dug back and did a cover of an old standard.

772
00:54:04.519 --> 00:54:08.239
<v Speaker 4>And I'm saying, you know, the opportunity is still there.

773
00:54:08.719 --> 00:54:11.079
<v Speaker 4>Every year, more and more stuff goes into the public domain.

774
00:54:11.519 --> 00:54:14.840
<v Speaker 4>So now we go from talking about picnics to what

775
00:54:15.000 --> 00:54:17.079
<v Speaker 4>Fats Domino is talking about. You could do that with

776
00:54:17.199 --> 00:54:17.719
<v Speaker 4>a whole lot.

777
00:54:17.679 --> 00:54:20.400
<v Speaker 6>Of different songs, you know, Are you telling me there

778
00:54:20.400 --> 00:54:21.280
<v Speaker 6>are two different things.

779
00:54:22.119 --> 00:54:25.480
<v Speaker 4>No, I'm implying there are two different things to do

780
00:54:25.639 --> 00:54:26.599
<v Speaker 4>with that what you will?

781
00:54:28.400 --> 00:54:28.960
<v Speaker 3>So there you go?

782
00:54:29.719 --> 00:54:32.719
<v Speaker 4>All right, that does it. That's all I've got. I

783
00:54:32.840 --> 00:54:37.039
<v Speaker 4>think this was awesome. Yeah, we always go across the

784
00:54:37.320 --> 00:54:40.599
<v Speaker 4>whole spectrum, new to old, you know, all the different styles.

785
00:54:40.599 --> 00:54:42.400
<v Speaker 4>That's what I like doing these kind of things. Yeah,

786
00:54:42.840 --> 00:54:47.280
<v Speaker 4>it keeps it interesting, very cool. All right, any final

787
00:54:47.320 --> 00:54:48.760
<v Speaker 4>thoughts before we pull the plug here.

788
00:54:51.119 --> 00:54:53.480
<v Speaker 1>All right, it's one of my favorite topics.

789
00:54:53.719 --> 00:54:56.920
<v Speaker 2>Yeah, oh this could be be visited, you know, yeah,

790
00:54:58.000 --> 00:54:58.480
<v Speaker 2>over and over.

791
00:54:58.719 --> 00:55:00.760
<v Speaker 4>Yeah, it pops up every once in a while. Yeah,

792
00:55:00.880 --> 00:55:03.440
<v Speaker 4>it's worth it. Yeah, and this is one of those

793
00:55:03.599 --> 00:55:05.719
<v Speaker 4>rare weeks where we know what we're doing next week.

794
00:55:05.920 --> 00:55:09.599
<v Speaker 4>I just mention Ludwig von Beethoven, So we're actually gonna

795
00:55:09.599 --> 00:55:12.239
<v Speaker 4>talk about Beethoven next week. But I promise it won't

796
00:55:12.239 --> 00:55:14.679
<v Speaker 4>be painful. It's okay, a little culture won't kill you.

797
00:55:15.360 --> 00:55:16.000
<v Speaker 6>It'll be fun.

798
00:55:16.159 --> 00:55:16.800
<v Speaker 4>It'll be fun.

799
00:55:17.000 --> 00:55:18.400
<v Speaker 3>It'll be fun, all right.

800
00:55:18.440 --> 00:55:21.760
<v Speaker 4>Thank you, Crambones, excellent selections. As always, thank you all

801
00:55:21.800 --> 00:55:23.599
<v Speaker 4>for joining us for the Rock and Roll History Show.

802
00:55:23.880 --> 00:55:26.079
<v Speaker 4>Don't forget to subscribe in your favorite app and check

803
00:55:26.119 --> 00:55:28.159
<v Speaker 4>out all the other shows we do here. We have

804
00:55:28.280 --> 00:55:30.679
<v Speaker 4>something for everybody. We'll see you next week with another

805
00:55:30.719 --> 00:55:33.800
<v Speaker 4>brand new episode. Until then, be safe, have fun, everyone,

806
00:55:34.000 --> 00:55:34.800
<v Speaker 4>and peace out.

807
00:55:36.880 --> 00:55:38.599
<v Speaker 10>Come a rock cop bottomed cram

808
00:55:41.280 --> 00:55:47.039
<v Speaker 4>Okay, Bye bye, Hudson River Radio Dot com, a subsidiary

809
00:55:47.119 --> 00:55:51.679
<v Speaker 4>of Glacier Entertainment LLC, potentially successful its multi hundred dollars

810
00:55:51.760 --> 00:55:52.239
<v Speaker 4>corporation