Friday, May 23, 2008

May 23, 2008 Earworm


I dashed off to my favorite second hand cd/dvd store last week in search of one thing and, par for the course, ended up finding another. The find was so exciting that I actually bellowed the non-acronymic version of "OMG, NFW!", giving the other browsers quite a start. Pulling myself together and saying a silent prayer to Alison Surasky, my personal patron saint of exclamations, I took the copy of Love Tractor's "This Ain't No Outerspace Ship" to the counter to claim my prize and then dashed out to the car to subject the parking lot to a cover of The Gap Band's "Party Train" via maximum volume. As my tummy rumbled with the bass, yesterday was altered and twenty-one years evaporated. I could smell the Myers dark and o.j. and the Camel non-filtered scent of me peering through the haze at the microcosm that was, at that point, my understanding of the world. The people I loved and the ones I hated; those who would fade with time and those that I would lose abruptly for primarily pointless reasons. There at the bar sat Kenny and Kmatt, laughing - probably at someone's expense; Linda serving some concoction guaranteed to set you staggering; Spurlock eating the worm on a dare; Alison, Jody, and Susan having just finished damaging the ozone; Charlie still not wanting anything to do with me. The dance floor was packed with faces that seemed so important then, but now no longer have a name. For the moment, everybody was on board.

Love Tractor's interpretation of "Party Train" was polarizing among those who cared about such things. Some felt that it was a laughable frat boy work out, while others said it was tongue in cheek and therefore exempt. To me it was both and neither and twenty-one years hasn't changed that lack of opinion. It was then a fun way to fill the floor for five minutes - or longer if I felt like working in the original version - because, regardless of how the message was delivered, it needed to be heard.

Have a great Memorial Day weekend and don't forget to remember.

Thursday, May 22, 2008

May 22, 2008 Earworm


With Austin Taylor's "Push Push", Bert Berns' first taste of success was a humble one. Co-produced with Laurie Records owner, Gene Schwartz, it's a big, crisp production with a loud flourish that makes me feel like I'm inside the upset stomach of a tuba - just listen, you'll know what I mean - and Bert's time spent in Havana is evident in the arrangement. "Push Push" would only spend two weeks on the Billboard chart, peaking at #90, and one week on the Cashbox survey where it shared the #100 spot with two other singles, one of which was "Look Out" by Ted Taylor whose real name was Austin Taylor. Among folks who care about such things, there has been much confusion as to whether Ted Taylor, formerly of The Jacks and future soul hit maker, are one and the same. So much so that the cd debut of "Push Push" - on Ace's "Teenage Crush Vol. 5" says they are the same person while, one year later, Ace's "The Bert Berns Story: Twist And Shout Vol. 1", says they are not.

While they try to figure it out, we can just use the song to help push us through the day.

Wednesday, May 21, 2008

May 21, 2008 Earworm





The writers of Herman's Hermits' "The Man With The Cigar" - known only to me as "Richard/Kusik" - were probably striving for the heights set by Mann/Weil in the "common folk" observational lyric department, but didn't quite make it. Fortunately, it's got a languid groove that's quite groovy but just may explain why the boss man was always giving Herman grief. A quickening of the pace when Herman sings, "I need this job and I need it bad..." is a nifty little trick that never fails to make me chuckle. Then I look over my shoulder and get back to work.

Tuesday, May 20, 2008

May 20, 2008 Earworm


From the mouths of Emmylou Harris, Alison Krauss, and Gillian Welch, even a song as terrifying as "Didn't Leave Nobody But The Baby" can provide comfort. It must be the after effects of that Chuck Palahniuk dream...

Monday, May 19, 2008

May 19, 2008 Earworm


As P.J. Proby's UK success wound down, he scored a surprise US hit in '67 with the funky Pat and Lolly Vegas song, "Niki Hokey". Climbing to #23, it was his best showing in his native land but, unfortunately, it would be his last. Liberty Records - lacking foresight - probably thought that they'd finally discovered what it was that the US would accept from him and released a rather pedestrian cover of Hank Ballard's "Work With Me Annie" backed with the menacing "You Can't Come Home Again (If You Leave Me Now". Disc jockeys began to play the former but, when Proby was cooking, he sounded as though he were singing with his erection as a microphone and even a pedestrian cover of "Work With Me Annie" comes across as too lascivious. With little lyrical content to work with, P.J. sounds as though he was looking for relief from blue balls and it was probably too much for listeners. If someone would have flipped the record over, it may have fared better than it's #119 peak because "You Can't Come Home Again..." showcases exactly what Proby was; the sordidly soiled link between the heretic hip swiveling of the young Presley and the panty catching posturing of Tom Jones.

Proby could have been a god, but...