Now, you may think I’m a bit behind the eight ball, doing a show on RESOLUTIONS AND FRESH STARTS in mid January, but I have a policy of not even thinking about New Year Resolutions until after my birthday, which is around this time. I’m not prepared to give up my wicked ways until those celebrations are well out of the way. And, to be honest, that could take up to 6 months at least.
So, I’ll allow the playlist to do the job for me. The wonderful Nina Simone set the tone with FEELING GOOD. She’s full of optimism because it’s a new day, a new life and she’s feeling good. I wonder how long that lasted? Because, as we all know, new resolutions and fresh starts are often accompanied by regret and, unfortunately, they almost always carry the potential for failure. But, let’s at least try and maintain some hope.
The Allman Brothers Band have had their ups and downs, so on a song like CHANGE MY WAY OF LIVING they’re sounding mighty ambitious. But hey, let’s give them the benefit of the doubt.
It was great to have Blues/Roots duo The Fridays in the studio for a chat and some live music. They’re from Adelaide and presently in Byron performing and promoting their EP Woh Oh. Kimberly McKenzie and Kelly Breuer’s original material melds rock out riffs with beautiful harmonies. A couple of the songs had me laughing out loud. As well as playing ROMANCE COMEDY from their EP we were able to have them perform two other numbers live and it was such a pleasure. If you get a chance to catch them perform, anywhere, don’t miss out on supporting some fantastic up and coming Australian talent.
Motown giants The Supremes and The Temptations got together to record a version of Dee Dee Warwick’s I’M GONNA MAKE YOU LOVE ME and it became a huge hit for them in 1969. We followed that with the very appropriate NEW YEAR’S RESOLUTIONS from two more soul greats, Otis Redding and Carla Thomas.
If only Thin Lizzy’s Phil Lynot had followed through on his resolution, he might still be with us. Instead, I’VE GOT TO GIVE IT UP, is a sad memorial to this amazing talent who died at 36.
Something a little less serious: Husker Du reckon they’re NEVER TALKING TO YOU AGAIN. Oh come on guys, never say never. Bob Dylan is equally resolute. He swears he’s never going to work on MAGGIES FARM no more. Fair enough.
The Who are convinced that they WON’T GET FOOLED AGAIN. A good resolution if ever I heard one, but, like a lot of resolutions, not that easy to keep.
Mama Kin is very convincing on her resolution song I’M GONNA DO IT. As is Bobby Bland who says he AIN’T GONNA BE THE FIRST TO CRY.
John Legend gets a little bit of help from Snoop Dogg on I CAN CHANGE. On this video clip he carries the day on his own (and you get the bonus of Spottie as well). Its a live performance in London with a terrific band and back-up.
George Thorogood & The Destroyers contributed one of those songs full of promises. You know the ones: men make them in order to win the woman of their dreams. In this case George says I’LL CHANGE MY STYLE.
Bobbie Gentry, who’s obviously met a few ‘Georges’ in her time swears I’LL NEVER FALL IN LOVE AGAIN.
Nick Cave, apparently has all the right intentions, he just has trouble delivering on his resolutions because RIGHT NOW HE’S A ROAMING. Steve Winwood knows that if you’re really serious about wanting a fresh start you have to make it happen WHILE YOU SEE A CHANCE.
Somehow I don’t think Ian Dury and the Blockheads were serious at all when they sang I WANT TO BE STRAIGHT.
Princess Superstar’s QUITTING SMOKING SONG was edited a little, otherwise we wouldn’t have been able to play it on radio, and that would have been a pity, I reckon. Meanwhile, Black Kids are promising I’M NOT GOING TO TEACH YOUR BOYFRIEND HOW TO DANCE WITH YOU. Quite right too.
A fun couple of songs to exit on: Mary Martin and the cast of South Pacific with I’M GONNA WASH THAT MAN RIGHT OUT OF MY HAIR. And one of my favourites, the wonderfully eccentric and optimistic Jonathan Richman, who knows all about fresh starts on I’M JUST BEGINNING TO LIVE.
Thanks to The Fridays for coming in and entertaining us in the first hour of the program. Don’t forget they’re performing at the Rails Hotel in Byron Bay on Thursday January 20th so get along and support them.
Thanks also to Lina, Chilla, Shel, Allan, Andy and Victoria for letting us know what their New Year Resolutions were for this year.
Next week’s show will be ALL AUSTRALIAN. Lots of nostalgia and some new stuff as well.
Until then, here’s this week’s playlist:
Feeling Good / Nina Simone
Change My Way Of Living / The Allman Brothers Band
Romance Comedy / The Fridays
I’m Gonna Make You Love Me / The Supremes
New Year’s Resolution / Otis Redding and Carla Thomas
Got To Give It Up / Thin Lizzy
Never Talking To You Again / Hüsker Dü
Maggie’s Farm / Bob Dylan
Won’t Get Fooled Again / The Who
I’m Gonna Do It / Mama Kin
I Ain’t Gonna Be The First To Cry / Bobby “Blue” Bland
I Can Change ft. Snoop Dogg / John Legend
I’ll Never Fall In Love Again / Bobbie Gentry
I’ll Change My Style / George Thorogood and The Destroyers
Right Now I’m A-Roaming / Nick Cave and The Bad Seeds
I Want To Be Straight / Ian Dury and The Blockheads
While You See A Chance / Steve Winwood
One Way Or Another / Blondie
Quitting Smoking Song / Princess Superstar
I’m Not Gonna Teach Your Boyfriend How To Dance With You / Black Kids
I’m Gonna Wash That Man Right Out of My Hair / Mary Martin and The Girl’s Chorus of South Pacific
I’m Just Beginning To Live /Jonathan Richman and The Modern Lovers
Next week: 40 YEARS OF CLASSIC AUSTRALIAN ROCK
This week’s theme is inspired by the fact that Iggy Pop is headlining our major youth concert, The Big Day Out this month. And Bob Dylan, Elvis Costello and Jethro Tull will all be here in April for the Byron Blues Festival. I’m a baby boomer, so I’m ecstatic to be able to see all my heroes from the 60’s still performing. But, I have to ask: what is it about the first generation of rock n rollers – what keeps them going?
The reality is that from the moment rock music arrived on the scene it was a young person’s game: music made by young people for young people. It never intended to grow up or grow old. But it did. So what happens when rock’s youthful rebelliousness is delivered wrapped in wrinkles?
Lemmy from Motorhead has a formula for staying alive. He reckons you just breath (at all times). Lemmy, like Keith Richards, is one of the all time rock n roll survivors and therefore much revered by fans of a similar vintage.
Much to the dismay of our children, we baby boomers have carried on being the oldest swingers in town. We haven’t shown any sign of giving up on rock concerts, taking recreational drugs, (if we want to), and staying up all night. It’s why the biggest earners for rock concerts aren’t the Lady Gagas of the world, but veteran performers like AC/DC, The Eagles, Paul McCartney and The Who.
On MY GENERATION The Who were actually saying that they hoped they’d die before they got old. Hey, hold on a minute, they’re still singing it and they ARE old. What happened?
What happened started in the 50s when an entirely new species emerged with its very own music. They were called teenagers. And their music was called rock n roll:
Rock n roll created something special: The joy of hearing your parents shout out: “Turn that bloody racket down!” Because one of the social functions of rock has always been the defiance of the older generation. For performers like Elvis every gesture, every note was all about social disenfranchisement and rebellion. Elvis hit the scene wearing pink and black and leather outfits. He looked more like a pimp than a musician. “Outrageous!” reeled the grown-ups. But to the teenagers, he represented an escape from the stuffiness of the post-World War Two era.
No-one, even the musicians themselves, took rock and pop seriously, though. It was seen as a novelty, something that wasn’t meant to last. As the soundtrack to growing pains, it was temporary and disposable just like the people who made it.
By the early 60’s Beatlemania was gripping youth’s attention. The Establishment, however, remained doubtful that it was a fever that would last. Even the Beatles accepted the idea of their own inbuilt obsolescence.
With Beatlemania, and the British Invasion in general, many of the young established groups were being left behind. The tyranny of youth dictated that if you didn’t change with the times, you were old hat. One of the new incumbents was the band Manfred Mann.
In 1965 The Who recorded one of the ultimate anthems to youth, one that damned growing up and growing old. The young went on the offensive claiming their territory through guitar, bass and drums. The older generation were still recovering from a World War and all they wanted was some peace and quiet. To the younger generation old age just seemed really boring.
Ironically, the British Beat boom of the mid 60’s was based on music that was already old. Bands like the Stones, The Animals & Manfred Mann worshipped American Blues of the 20s 30s and 40s. Their recording heroes were still alive, but by rock roll’s new standards they were old men. Charlie Parker was born in 1920, Miles Davis in 1926 & Muddy Waters in 1913.
The self-absorbed rebelliousness of rock n roll gathered speed with the Rolling Stones. While the Who were busy burying the older generation, the Stones were singing about finding their satisfaction in sex.
The arrival of album culture in the late 60s proved that rock n roll was now thinking more in the long term. It didn’t sound disposable anymore. It was growing up, just like the people who made it. The Beatles Sgt Peppers album dared to imagine what life would be like at SIXTY FOUR. Up until now that was completely unthinkable for the baby boomer generation.
In the same year that the Beatles released the Sgt Peppers album, Procol Harum had a hit single with WHITER SHADE OF PALE. Things had started to get serious. The more experienced young musicians began wondering how far they could take their music. And they took their diehard fans with them. In many cases the fans had grown up with these bands and, along the way, they’d developed an appreciation of lyrics and music with more depth.
The end of the sixties saw the beginning of the rock n roll casualty list. The death of Brian Jones in 1969 seemed to crystalise a ‘live fast, die young’ attitude and brought a new reality to “I hope I die before I get old.” Janis Jopliin, Jim Morrison, Jimi Hendrix all died at 27, confirming the myth that if you wanted to be a rock legend you had to die young.
The Stones, however, seemed determined to mature. After the death of Brian Jones they picked themselves up and went back on the road. For the band, it wasn’t over yet.
By the end of the 60’s the Stones had discovered the secret of survival, at least for now. Unfortunately, the Beatles didn’t. As if to prove that longevity and rock n roll was difficult for a group of young guys growing up together, they split in 1970. The Fab Four would go on to enjoy successful solo careers for many years to come but the surge of creativity that fed them in their youth proved more elusive for them and their generation as they grew older.
Today, Mick Jagger, Paul McCartney and Pete Townsend can play arenas 45 years after they first had hits. Which is great. But the real question is: are they writing great songs? Or is the outpouring of creativity that launched their careers a factor of youth?
Herman’s Hermits got together in 1963 when lead singer Peter Noone was only 16. Their very first release, I’M INTO SOMETHING GOOD, was a #1 hit and although future recordings would get into the top ten, they were never to have a UK #1 again. The band, without Noone, continue to perform to this day and Peter Noone has gone on to have a successful career as both a singer and actor.
In the early 70’s, no performer demonstrated rock n roll’s reliance on youthful invention and raw power more than Iggy Pop. Here’s a great little doco that illustrates why he is known as the “Godfather of Punk”:
Not all rock n roll of the early 70’s was an expression of sexual energy and youthful physicality. By now prog rock was plundering the classical music collections so beloved of its middle class parents, as proof of its intention to last. It’s perpetrators, bands like Yes & Jethro Tull, seemed to be contemplating careers beyond the age of 30.
Performers found themselves living with their songs and growing into their material. One of the most requested songs from troops serving in Vietnam was I GOTTA GET OUT OF THIS PLACE by Eric Burdon & The Animals. Burdon continues to perform this song today when he entertains servicemen and women in Iraq and Afghanistan. In fact, it’s written into his contract. That’s what they call an anthem, folks.
In 1976, before the 60’s generation had a chance to mature, they were rudely cast aside by punk. It was a three-chord reign of terror, the ultimate Oedipal act. Snarling, spitting and clawing its way to the stage.
These weren’t the kids of the optimistic 60’s but a new young generation who felt abandoned. Everyone was in their way and, as always, no one understood them.
The bands of the post-punk era, like the Specials and Madness, while less dismissive of the past, still believed that rock and pop music were part of an essentially young experience.
In the early 80’s the Stones were back, yet again, having been absent from the stage for 6 years – while punk and its aftermath were the centre of attention. They were proving that they were in for the long haul.
In July 1985 the benefits of hanging in for the long term reached unexpected and unprecedented heights, with Live Aid. The international event sometimes looked like a version of Dad’s Army with acts like Paul McCartney, Bob Dylan, The Who, and the Beach Boys joining pop stars of the 80s on stage. Watched by more than 400 million viewers in 60 countries, this was the rock n roll survivor’s finest hour. Suddenly being 40 didn’t seem so uncool. These were the masters, the legends, the acts deemed capable of feeding the world.
A lot of young people heard some of the older bands for the first time, saying “These bands are fantastic.” And then, the most hated people in their musical vocabulary, their parents, responded with “Yeah, we know, we love them too!”
What had begun with Live Aid in the 80’s continued into the 90s with projects like War Child. Performers from three generations of rock n roll – Paul McCartney, Paul Weller and Noel Gallagher recorded COME TOGETHER, in the new spirit of multi-generational tolerance. It was no longer a case of ‘My Generation’ but ‘Your Generation too”. Just as importantly, audiences for the music also started to span generations.
The new millennium witnessed an entirely new phenomenon: the revival and the comeback. Leonard Cohen, already in his 70’s, had decided to stop performing and recording altogether. At least that was the plan. But after having all his money misappropriated by a crooked manager, he had to go back on the road. And guess what, he loves it!
Audiences who had grown up and grown old with their heroes wanted them back. Age had invested their favourite bands with a new authenticity. Performers couldn’t believe their luck. Even Brian Wilson returned from the wilderness to be a Beach Boy once again.
Rock n roll is now revelling in a long life. What was about risk and youth is now about enjoying a grand old age. It’s about longevity, survival, nostalgia. Refusing to grow up, give up or shut up. The whole point of the baby boomer generation is that we made it up from the beginning and we’ve been making it up ever since. We’ve been pushing the boundaries, and unlike our parents, we’ve refused to accept old age.
Many thanks to BBC and You Tube community for the wealth of material, without which this week’s show would not be possible.
Next week, my special guests will be The Fridays, performing live in the studio, plus lots of songs about RESOLUTIONS. Any suggestions/requests, please leave me a message here.
In the meantime, here’s this week’s complete playlist:
Lust For Life, Trainspotting soundtrack, Iggy Pop
My Generation, Austin Powers: The Spy Who Shagged Me soundtrack, The Who
Johnny B. Goode, Martin Scorsese Presents the Blues, Chuck Berry
Jailhouse Rock, Elvis Presley
Get A Job, Get a Job, The Silhouettes
Paul McCartney quote
Twist And Shout, Please Please Me, The Beatles
Paul Jones quote
Come Tomorrow, The Five Faces of Manfred Mann, Manfred Mann
(I’m Your) Hoochie Coochie Man, Martin Scorsese Presents the Blues, Muddy Waters
Let’s Spend The Night Together, Hot Rocks 1964-1971, The Rolling Stones
When I’m Sixty-Four, Sgt. Peppers Lonely Hearts Club Band, The Beatles
She’s Leaving Home, Sgt Peppers Lonely Hearts Club Band, The Beatles
A Whiter Shade Of Pale, The Big Chill soundtrack, Procol Harum
Brown Sugar, Sticky Fingers, The Rolling Stones
Peter Noone quote
I’m Into Something Good, The Original 60’s Summertime album, Herman’s Hermits
Iggy Pop i/view
Search And Destroy, Raw Power, Iggy Pop & The Stooges
Too Old To Rock ‘N’ Roll, Too Young To Die, Jethro Tull
We’ve Gotta Get Out Of This Place, The Most of the Animals, The Animals
God Save The Queen, Never Mind the Bollocks, The Sex Pistols
Too Much Too Young, The Singles Collection, The Specials
Baggy Trousers, Complete Madness, Madness
Mick Jagger quote
Start Me Up, Tattoo You, The Rolling Stones
Rockin’ All Over The World, Rockin’ All Over The World, Status Quo
Surfin’ USA, Endless Summer Legends, The Beach Boys
We Will Rock You, News of the World, Queen
Come Together, Help (War Child Benefit), Paul Weller & Friends
1969 (with i/view), Iggy Pop
In My Secret Life, Ten New Songs, Leonard Cohen
God Only Knows, Pet Sounds, The Beach Boys
Forever Young, Napolean Dynamite soundtrack, Alphaville
Next week: RESOLUTIONS
We call them fibs, falsehoods, fish stories, tall tales, whoppers but what’s really true is that lies have become almost commonplace, and unfortunately we’ve come to expect them from our electioneering hopefuls. But I won’t lie to you: This week’s show was full of great music, all of it on the subject of Truth & Lies. And its a perfect topic for the lead up to our federal election here in Australia.
So, could I have chosen a better opening song than WOULD I LIE TO YOU from the Eurythmics?
The great Freddy Mercury kept the ball rolling with another song suitable for the upcoming election: THE GREAT PRETENDER:
Clarence Carter delivered a song about people who tell lies behind your back. The song’s called THE BACKSTABBERS. Another kind of liar that we seem to condone is THE CARD CHEAT. The Clash turn the concept of the poker face into a pretty good song.
Aretha Franklin begged us – DON’T PLAY THAT SONG, but we had to anyway. And Little Richard sang his 1967 hit DON’T DECEIVE ME.
Jack Johnson isn’t sure he has the answers or that he wants to know the reason we’re all here on ANYTHING BUT THE TRUTH. And from that we had nowhere else to go than some pure pop with The Go-Gos and their 1981 pop hit, OUR LIPS ARE SEALED.
Eric Clapton, who knows just a little bit about an addict’s self-denial, gave us COCAINE. And we followed with another piece of self-delusion: Mary Gauthier’s I DRINK.
Okkervil River’s POP LIE was followed by a song that spoke to many during the Vietnam War. AMERICAN RUSE was recorded by MC5 in 1969 and it points out the American government’s grand deception during this time. Check out these early punk rockers. Excellent.
Lots of requests for Leonard Cohen this week. So IN MY SECRET LIFE made the list, especially for Robyn, Des, Julie & Waldo. I know its heresy to all you Cohen fans, but I haven’t been one of them. If any of his songs could convert me, however, it would be this one. And I’m a sucker for a quirky video clip:
The song LOLA is about someone who misrepresents their gender and gets the Kinks all in a lather. Better to do what Eric Clapton and Steve Winwood suggest and TELL THE TRUTH, I think.
Feist’s I FEEL IT ALL is the third single from her critically acclaimed 2007 album The Reminder. It’s basically a love song about how lies can divide. Matchbox 20’s song BED OF LIES can be interpreted as not being who you really are within a relationship, or, just leading a life that’s not true to who you really are.
Regular contributor Robyn suggested a few songs this week but one that I had forgotten and had to include was The Thompson Twins with LIES. Couldn’t help myself and had to follow with The Monkees and I’M A BELIEVER. Take me back to 1966!
John Lennon, and I, have a message for all you politicians: (Just) GIMME SOME TRUTH. Fleetwood Mac, on the other hand, only have love on their minds and they’d prefer that you TELL ME LIES. Depeche Mode have a similar opinion. They’re convinced that honesty’s not always the best policy on POLICY OF TRUTH. Released in 1990, its from their Violator album.
It was a toss up between The Who’s LA LA LIES and IT’S NOT TRUE for inclusion this week, but went with the latter. Both songs highly underrated I think.
Love the high-octante performance here from Blondie with LITTLE GIRL LIES. Watch for when Debbie shouts: “Hey I want some back up!” Check out this live performance:
We closed the show with the beautiful voice of up and coming musical star Megan Washington. The song I BELIEVE YOU LIAR is from the recently released album of the same name. Someone to watch for sure.
I’d love to have your suggestions for next week’s show, which will be on LIFE’S LESSONS. Songs that express what life is all about. They will have an element of advice about them, like “You Can’t Always Get What You Want” . Come on, you know you like a challenge.
Here’s this week’s complete playlist:
Would I Lie To You – Be Yourself Tonight, Eurythmics
The Great Pretender – The Very Best of Freddie Mercury Solo, Freddie Mercury
Backstabbers – Tarantino Experience II, Clarence Carter
The Card Cheat – London Calling, The Clash
Don’t Play That Song – Aretha Franklin
Don’t Deceive Me – The Explosive Little Richard, Little Richard
Anything But The Truth – To The Sea, Jack Johnson
Our Lips Are Sealed – Beauty and the Beat, The Go-Go’s
Cocaine – Eric Clapton
I Drink – Theme Time Radio Hour with Your Host Bob Dylan, Mary Gauthier
Pop Lie -The Stand Ins, Okkervil River
The American Ruse – Back In The USA, MC5
In My Secret Life – Ten New Songs, Leonard Cohen
Lola – Lola vs Powerman, The Kinks
Tell the Truth – Live from Madison Square Garden, Eric Clapton and Steve Winwood
I Feel It All – The Reminder, Feist
Bed of Lies – Mad Season, Matchbox 20
Lies – Classic MTV: Class of 1983, Thompson Twins
I’m A Believer – The Monkeys
Gimme Some Truth – Lennon Disc 2 John Lennon
Tell Me Lies – Fleetwood Mac
Policy of Truth – Depeche Mode
It’s Not True – My Generation Deluxe Edition (Extended Version), The Who
Little Girl Lies – Blondie, Blondie
Moment of Truth – Moment of Truth, Single, Blue King Brown
I Believe You Liar – I Believe You Liar, Washington
Next week: LIFE’S LESSONS
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 4-6pm, Sydney time
Insects and spiders can be an absolute nuisance, especially in summer. They get in our hair, on our skin, even in our beds. They suck our blood and destroy our veggie gardens. But they also keep nature in balance, if we don’t go crazy with insecticides that is. And without those busy little bees we wouldn’t have all that lovely honey. So, like most of the subjects I pick for this show, our relationship with these creeping, crawling, flying and buzzing creatures is a complex one.
James Brown knows what I mean. He’s got ANTS IN HIS PANTS AND HE NEEDS TO DANCE Ouch! A great follow up to that was English soul singer Alice Russell with A FLY IN THE HAND. Here she is performing live in 2008. Great voice.
The B-52s’ song JUNE BUG is about a little beetle that only comes out at night. Sounds like a friend of mine. Lead singer, Fred Schneider, says the song’s message is to “go organic, don’t use pesticides”. Excellent. Loving the sound effects too.
Jason Mraz followed with a nice piece of pop about a BUTTERFLY and then it was Nina Simone with probably the best title for a song this week: FUNKIER THAN A MOSQUITO’S TWEETER. What is a mosquito’s tweeter? I have no idea and neither did any of our listeners when I asked. Anyone who does, please let me know.
The Eels do a great song about relationships, (the love/hate kind), called ANT FARM. And I’ve always loved Carly Simon’s version of ITSY BITSY SPIDER too. Who knew that there could be so many good songs about insects?
The Blues artists know how to make a song on any subject sound provocative. Slim Harpo does it to perfection with the very suggestive I’M A KING BEE. But if you want a funny song about a creepy crawly then you can’t go past country singer Jim Stafford’s rendition of SPIDERS & SNAKES.
Our hard-working BayFM President, Ros, suggested Ziggy Marley’s DRAGONFLY. Did you know that dragonflies can fly both forward and backward? And they can fly up to 30 miles an hour. Perfect choice for someone who doesn’t ever seem to stay still.
The Who’s BORIS THE SPIDER was written by the band’s bassist John Entwistle. It was supposedly Jimi Hendrix’s favourite Who song. Go figure.
I love the quirkiness of the Presidents of the United States and BOLL WEEVIL is a great example of their crazy novelty punk style. It’s from their self-titled album, released in 1995.
Butterflies have to be one of the most beautiful creatures on earth and they are just so important ecologically, as agents of pollination. So I made sure that there were a few songs about these wonderful flying insects in the show. One of my favourites is by Corrine Bailey Rae. She says that the song BUTTERFLY was written with her Mum in mind.
Another terrific butterfly song is by Chakra Khan. It’s called PAPILLON, which if my schoolgirl French serves me correctly, also means butterfly.
Some butterflies have evolved symbiotic and parasitic relationships with social insects such as ants. So it seemed the right time to introduce Adam Ant with his signature tune, ANTMUSIC.
Louie the Fly introduced a couple of songs about a much maligned little insect:
SHOO FLY PIE AND APPLE PAN DOWDY, by Doris Day, isn’t so much about a fly than about a pie made with molasses. This sticky, sweet substance attracts flies that have to be “shood” away. Tim Buckley’s song BUZZIN’ FLY is also about being attracted to something sweet, but in this case it’s a girl’s affections.
Did you know that the humble cockroach has been around for over 350 million years?
They Might Be Giants, do a very cheeky version of the SPIDER MAN theme song that had to be included. And then it was another suggestion from Andrew, one of the few Theme Park listeners who could come up with a suggestion for this week’s topic. It was a terrific song that I had totally forgotten: A SONG FROM UNDER THE FLOORBOARDS by Magazine. Here they are performing on the Jools Holland show in 2009:
We definitely needed a bit more Blues in the show, especially as I was giving away a great DVD, RED, WHITE AND BLUES, part of the 7 part series on the Blues by Martin Scorsese. This part, on the Blues in Britain, was directed by Mike Figgis, director of the film Leaving Las Vegas. Congratulations Mike who won that. Enjoy.
So, looking for more Blues, I couldn’t go past John Lee Hooker’s song about spiders, CRAWLIN’ BLACK SPIDER.
Robyn Hitchcock has a bit of a thing about spiders with both an album and an EP with tarantula in the name, but INSECT MOTHER is actually from his first album with The Egyptians, Fegmania.
Andrew had another great suggestion: Iggy Pop’s LOCO MOSQUITO. Heres a bit of insect trivia for you: Did you know that a mosquito beats its wings an amazing 500 times per second? No wonder I can never catch the little buggers.
The Dire Straits song THE BUG is about how random life is. One minute you’re the windshield, the next you’re the bug. So yeah, live life to the fullest is what I suppose they are suggesting, because you never know when it might all end.
On that note, its only fair that we finished the show on an up note. What better than something from disco diva Tina Charles. She’s been bitten by the best bug of all: THE LOVE BUG.
I’d love to have your suggestions for next week’s show which, as a lead up to my election show the following week, will be on TRUTH AND LIES. I think this has the potential to be a really interesting show, so get your thinking caps on.
For now, here’s this week’s full playlist:
I Got Ants In My Pants -The Big Payback, James Brown
A Fy in the Hand (Remix) – Alice Russell
Junebug – Cosmic Thing, B52s
Butterﬂy – We Sing, We Dance, We Steal Things, Jason Mraz
Funkier Than A Mosquito’s Tweeter – Nina Simone
Ant Farm – Electro-Shock Blues, Eels
Coming Around Again/Itsy Bitsy Spider – Greatest Hits Live, Carly Simon
Glow Worm Cha-Cha-Cha – Ultra Lounge, Jackie Davis
I’m A King Bee – Martin Scorsese Presents The Blues, Slim Harpo
Spiders & Snakes – Jim Stafford
Dragonﬂy (Live) – Love Is My Religion Re-release, Ziggy Marley
There’s A Change In The Weather (extract to intro Weather update) Preservation Act 1, The Kinks
Boris the Spider – My Generation: The Very Best of the Who, The Who
Boll Weevil – The Presidents of the United States, The Presidents of the United States
Butterﬂy – Corinne Bailey Rae, Corrine Bailey Rae
Papillon – The Platinum Collection, Chaka Khan
Antmusic – Antbox 2, Adam Ant
Louie the Fly (Mortein ad)
Shoo Fly Pie and Apple Pan Dowdy – The Story of Jazz, Doris Day
Buzzin’ Fly – The Dream Belongs To Me, Tim Buckley
La Cucharacha – Born Free, The George Mann Orchestra
Spider Man – They Might Be Giants
A Song from Under the Floorboards – Real Life and Thereafter / Forum, Magazine
Crawlin Black Spider – Boom Boom CD2, John Lee Hooker
Loco Mosquito – The Best of Iggy Pop, Iggy Pop
Insect Mother – Luminous Groove, Robyn Hitchcock And The Egyptians
The Bug – On Every Street, Dire Straits
Love Bug – Greatest Hits, Tina Charles
Next week: TRUTH & LIES
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 4-6pm, Sydney time
Memories can haunt us, no matter how much we want to escape them. There are false memories, conflicting memories of the same event and memories that clash with the reality of the present. Thanks to mass media, memory isn’t something that only belongs to us as individuals. When we see scenes at the cinema or television or on DVDs over and over again, they become part of our collective memory. Even if you’ve never seen the film King Kong you know that there’s a scene where a big gorilla climbs up the Empire State Building with a human girl in his hand. And whenever a comedy show or film features a scene where someone is killed or threatened in a shower most people understand it’s a parody of Psycho. So mass media, film and television in particular, have contributed hugely to a memory that we share with millions of other people.
Unfortunately, we remember melancholy and pleasure in equal measure. The concept of looking back in hindsight is also a bit complicated. It’s easy to write off youthful idealism as simply being naïve as Stevie Wonder did in our opening number YESTERME, YESTERYOU, YESTERDAY. According to Stevie it was all “a cruel and foolish game we used to play”. Well that’s how he remembers it anyway.
And talking of cruel, I can’t imagine anything worse than getting Alzheimer’s disease and Elvis Costello’s song VERONICA is all about that. It tells the story of an old lady who lives in a nursing home and is gradually losing her memory. It was inspired by Costello’s grandmother.
The Ramones want to know DO YOU REMEMBER ROCK ‘N’ ROLL RADIO? Has it ever gone away?
Collecting objects that remind us of old times should bring back good memories, but that’s not always the case as Soft Cell tell it in MEMORABILIA. Sarah Vaughan would rather experience something that didn’t work out than never do anything at all in I’D RATHER HAVE A MEMORY THAN A DREAM. The real classic of this triple play, however, was the Shangri-Las with their ode to a lost love affair: REMEMBER (WALKIN IN THE SAND). Here’s a great clip from the excellent “Songmakers Collection” DVD, with interviews with Mary Weiss and writer producer George ‘Shadow’ Morton about this track and their other hit, LEADER OF THE PACK.
Jurassic 5 dug deep into their memory banks for REMEMBER HIS NAME. As did Fall Out Boy for THNKS FR TH MMRS . The Zutons, REMEMBER ME is about those kind of friends who seem to forget you once they are entrenched in a romantic relationship. Don’t you just hate that!
THOSE WERE THE DAYS is from Cream’s 1968 album Wheels of Fire. The album cover was designed by Australian artist Martin Sharpe and it won the the New York Art Directors Prize for best album cover in 1969. The sound on the album was characterised by a hybrid of blues, hard rock and psychdelic rock, combined with Eric Clapton’s blues guitar, Ginger Baker’s jazz-influenced drumming and the basslines and voice of Jack Bruce.
One of the most beautiful voices I’ve heard belongs to Sarah McLachlan. And one of my favourite songs of hers is one that I first heard on the soundtrack to the film The Brothers McMullen. It’s called I WILL REMEMBER YOU.
Otis Redding’s name is synonymous with the term ‘soul’ and we had to include his classic with I’VE GOT DREAMS TO REMEMBER. Redding died at the very early age of 26 but his memory is kept alive with the Youth Educational Dream Foundation and a very good website. Go to: http://www.otisredding.com/
British group Bloc Party look back regretfully on an opportunity for love that wasn’t realised in I STILL REMEMBER:
The Kinks wonder what ever happened to their childhood friend in DO YOU REMEMBER WALTER? It’s from their album The Kinks Are the Village Green Preservation Society.
The Supremes reflected on the good and bad memories of a love that used to be in REFLECTIONS while Jimi Hendrix had only good memories of a past love, (he even wants her back!), in REMEMBER.
Relationships that survive depend partly on shared memories, but those memories need constant topping up. Indie rockers, Yo La Tengo document this well in OUR WAY TO FALL.
There was a fair bit of nostalgia in this week’s show, (well what did you expect?) and one of my faves was The Platters with REMEMBER WHEN. Also fitting the bill was Elvis Presley who seems somewhat confused in I FORGOT TO REMEMBER TO FORGET.
Memories, daydreams, disconnected thoughts – they fill our minds in a never-ending rush. Our next song, THE WINDMILLS OF YOUR MIND, evoked this beautifully, conveying the incredible weirdness of our thought processes. If you’re after nostalgia then what about Noel Harrison with the original version of the song that served the film The Thomas Crown Affair so well.
Ok back to recent memories. Jack Johnson wonders DO YOU REMEMBER? and P.M. Dawn are SET ADRIFT ON A MEMORY. Thanks to Lynden for suggesting that one and several others on our list today.
One of my favourite films deals with amnesia. Memento, starring Guy Pearce, and directed by Christopher Nolan, is a fascinating story about someone who can’t store new memories. A song about about the subject is I DON’T REMEMBER by Peter Gabriel.
Bob Dylan’s memory song is a love ballad from the Empire Burlesque album: I’LL REMEMBER YOU. And if its nostalgia that you’re after, consider MEMORIES ARE MADE OF THIS from Dean Martin. An oldie but a goodie, as they say.
I’ll never forget Michael Jackson with REMEMBER THE TIME from the Dangerous album. Another sad memory for me is Freddy Mercury singing THOSE WERE THE DAYS OF OUR LIVES which many think was the song he dedicated to his fellow Queen members when he knew that he was dying.
Back to the 70’s and some Aussie based punk rock: remember The Saints and MEMORIES ARE MADE OF THIS?
We closed the show with a cover of a song that I swore I wouldn’t play this week, but this version is so sweet it had to make the cut: The Waifs with a little help from Clare Bowditch. They’re singing Frank Ifields I REMEMBER YOU.
This week’s theme on MEMORY segues nicely into next week’s topic. My computer crashed last week and I had to invest in a drive with a lot more memory to cope with all the songs that I collect for these shows. So next week its MACHINES, ROBOTS AND COMPUTERS. No Television or Radio songs please because you know they are a whole theme to themselves. and no modes of transport, for the same reason. But any other gadget or gizmo is up for grabs.
Here’s this week’s complete playlist. All songs available on iTunes.
Yesterme Yesteryou Yesterday – Stevie Wonder
Veronica – Elvis Costello
Do You Remember Rock ‘N’ Roll Radio – The Ramones
Memorabilia – Soft Cell
I’d Rather Have a Memory Than a Dream – Sarah Vaughan
Remember (Walkin’ in the Sand) – The Shangri-Las
Remember his name – Jurassic 5
Thnks fr th Mmrs – Fall Out Boy
Remember Me – The Zutons
Those Were The Days – Cream
I Will Remember You – Sarah Mclachlan
I’ve Got Dreams To Remember – Otis Redding
I Still Remember – Bloc Party
Do You Remember Walter – The Kinks
Reﬂections – Diana Ross & the Supremes
Remember – The Jimi Hendrix Experience
Our Way to Fall – Yo La Tengo
Remember When – The Platters
I Forgot to Remember to Forget – Elvis Presley
Do You Remember – Jack Johnson
The Windmills Of Your Mind – Noel Harrison
Set Adrift On Memory Bliss – P.M. Dawn
I Don’t Remember – Peter Gabriel
I’ll Remember You – Bob Dylan
Memories Are Made Of This – Dean Martin
Remember The Time – Michael Jackson
Memories Are Made of This – The Saints
Those Were The Days Of Our Lives – Queen
Remember You (feat. Clare Bowditch) – The Waifs
Slip on your kaftans and tie-dye t-shirts. Adorn yourself with flowers and beads. We’re going to light-up some joss-sticks, “ban the bomb” and “make love not war!” This week’s theme is dedicated to that period in 1967 that saw as many as 100,000 people converge on the Haight-Ashbury neighbourhood of San Francisco, creating what was to become known as the counterculture movement. The melting pot of music, psychedelic drugs, sexual freedom, creative expression and politics became a defining moment of the 60’s and forever more will be known as THE SUMMER OF LOVE.
It’s easy to reject songs that seem to have been around forever, but consider the context of these songs’ origins and you’ll realize that what many of these musicians were doing hadn’t been done before and, in many cases, would never be done again. So respect to the hippies and the funk soul sisters & brothers and the year 1967 – a time of exploration and finding new ways of expression.
We opened the show with the THE ACID COMMERCIAL from Country Joe & The Fish and then it was the Beatles with ALL YOU NEED IS LOVE. Arguably the greatest band in the world at the top of their powers, Lennon’s anthem to love may not be his strongest but it’s definitely his catchiest. The Beatles made a worldwide television broadcast of the song, in between sessions of transcendental meditation, and it became a #1 hit in both the US & UK. Check out the clip from this transmission and see if you can see Mick Jagger in the audience.
A song that summed up the mood of those flocking to Haight-Ashbury in that Summer of 67 is, of course, Scott McKenzie’s IF YOU’RE GOING TO SAN FRANCISCO, (be sure to wear flowers in your hair). Written by John Phillips of the Mamas & The Papas, it was originally created to promote the 1967 Monterey Pop Festival, which is regarded as being the beginning of the Summer of Love.
FOR WHAT ITS WORTH, by Buffalo Springfield, is about the closing of the Pandora’s Box Club on the Sunset Strip in Los Angeles and the clash that followed between the police and kids. But the song quickly took on a larger meaning, symbolizing the generational friction happening all across the country as the hippies and flower children freaked out the authorities from coast to coast. Here’s a great clip from the Monterey Festival:
When you listen to PURPLE HAZE, from Jimi Hendrix’s ‘Are You Experienced?’ album, you can’t help but imagine the rush of a million wanna-be guitarists running into music stores hoping to be just like Jimi. Check out this video from 1967 with Jimi Hendrix on Guitar, Noel Redding on Bass and Mitch Mitchell on Drums:
In the early sixties The Beach Boys were synonymous with surfing and Californian youth culture. By the mid-sixties, however, their musical style had become a little more complex. A 1967 example of this new sophisticated sound was HEROES AND VILLAINS. We followed with a song that had the distinction of being the first track to be played on BBC Radio One when it launched in 1967, FLOWERS IN THE RAIN by The Move. And, to round out the triple play, The Turtles with HAPPY TOGETHER. This track can lift anyone’s mood. While their vocal harmonies verged on sugar-sweet, I don’t know anyone that doesn’t like this song.
I’M A BELIEVER, the Monkees’ hit, was written by none other than Neil Diamond. The song stayed at the top of the charts for six weeks and was the biggest selling single of 1967. That’s right, they even outsold the Beatles and the Stones, and while Neil Diamond, continued to write and perform, he never really needed to work another day in his life after this song took off. The Mamas & Papas hit, DEDICATED TO THE ONE I LOVE, was originally a hit for the Shirelles in 1961. Here are the Mamas & The Papas with their ’67 version:
Three more classics of the period: Cream’s I FEEL FREE, the Byrds’ SO YOU WANT TO BE A ROCK N ROLL STAR and Jefferson Airplane’s SOMEBODY TO LOVE. And then it was Procol Harum with WHITER SHADE OF PALE. This track contains perhaps the most recognizable Hammond B-3 organ rock line ever, snatched from Bach and perhaps a soul player or two. The vague lyrics, however, aren’t very memorable, making the organ bit seem even more imposing and significant than it probably deserves. But hey, what do I know? Here they are on Top of the Pops 1967. Make up your own mind.
Three more songs from that magical time in 1967 referred to as THE SUMMER OF LOVE include I’M A MAN from The Spencer Davis Group, written by Steve Winwood, SAN FRANCISCO NIGHTS from Eric Burdon & the Animals and GET TOGETHER from the Youngbloods.
But the band that epitomised the musical creativity of the sixties is The Beatles. A DAY IN THE LIFE, from their Sgt Pepper’s Lonely Hearts Club Band album, utilised a 40 piece orchestra taking 24 bars to go from the lowest note on their instruments to the highest and six people banging on three pianos at the same time in order to produce one huge power chord. The song obliterated every rule that ever existed for what a pop song should sound like and how it should be made, simple as that. Check it out:
One of the most instantly recognizable riffs in rock history is SUNSHINE OF YOUR LOVE, from Cream. And one of the most representative of the period is the Small Faces tune ITCHYCOO PARK. For me, though, when it comes to this period, I can’t overlook Janis Joplin. So an essential track from 1967 has to be Big Brother and the Holding Company with Janis Joplin singing DOWN ON ME.
Jimi Hendrix also deserved another play and this time it was FOXEY LADY. It’s probably worth mentioning here that up until this point Blues guitarists would never have done what Hendrix does on this track. The rule was that the guitar sound should be clean and pure. Jimi however, never got that memo and thank goodness for that.
As well as a time that was marked by anti-Vietnam demonstartions, 1967, unfortunately, was also a time of race riots, which also fed into the peace movement and hippie revolution with its ideals of compassion, awareness and love. So, in deference to our soul brothers and sisters, it was time for some R&B with I HEARD IT THROUGH THE GRAPEVINE by Gladys Knight and the Pips. This song became a #2 hit in 1967 and Marvin Gay’s renditon hit #1 the following year. But sticking to the plan, we listened to The Pips version and followed with the one and only Jackie Wilson with his landmark single, HIGHER AND HIGHER.
Although they were a white band, the Young Rascals GROOVIN’ was pure soul with its memorable Afro-Cuban mood and mid-tempo groove. Timeless song. Check out the clip of them performing live.
The next track was a bit of a cheat, since it wasn’t released until 1969, after the band had broken up. But TIME OF THE SEASON by The Zombies was written and recorded in August 1967 and the vibe is pure SUMMER OF LOVE, baby. And then it was the Who with I CAN SEE FOR MILES, the only real hit from their crazy concept album The Who Sell Out and SHE’S A RAINBOW from the Rolling Stones. We’ll overlook the Stones vain attempt of trying to one-up the Beatles and just concentrate on those first seven piano notes, which have been likened to the musical equivalent of heroin.
We closed the show with STRAWBERRY FIELDS FOREVER from the Beatles. The band recorded a version by themselves in one key and then they did a version with an orchestra in a different key. The version you know and love is BOTH versions mixed together, speeding the band version up and the orchestral version down. Magic. This promotional video was filmed in January 1967 and was directed by Peter Goldmann, at the time a Swedish TV director.
Now next week’s show is going to be hotter than hot. As a tribute to the upcoming Summer holiday season the theme will be HEAT. Put your thinking caps on and get in touch!
Here’s this week’s complete playlist:
Next week: HEAT
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 2-4pm, Sydney time.
Also streaming on http://www.bayfm.org
Mistress Lyn at your service with a few songs to scare the hell out of you, some that are just plain silly and all of which celebrate Halloween. Welcome to the dark side.
We opened the show with THE GRAVEYARD BY MOONLIGHT, a spine-chilling instrumental piece from one of the most commercial goth bands out there, Cradle of Filth. Then it was a track that can either be seen as very creepy or extremely silly (or both): HOUSE OF 1,000 CORPSES, from Rob Zombie’s album The Sinister Urge. Named after Ed Wood’s 1961 film of the same name, Rob used the track as the opening credits for his own horror flick, made in 2003, also called HOUSE OF 1,000 CORPSES. Check out the trailer for the film which looks like my favourite kind of horror film – very dark and extremely camp.
We caught our breath with Talking Heads’ deceptively funky PSYCHO KILLER, with lyrics that get into the head of a serial murderer. And then it was The Specials with GHOST TRAIN. More a political statement than anything, but still very creepy.
Nox Arcana’s BRIDES TO DARKNESS is from their Transylvania album and is the band’s tribute to the most famous and influential of all vampire novels, Bram Stoker’s Dracula.
Screamin Jay Hawkins is absolutely hilarious when he splutters out I PUT A SPELL ON YOU. Recorded in 1956, Hawkins has been reported as saying that he was so drunk when he recorded the song, that he can’t remember doing so. I believe him. Then it was a more controlled Bo Diddley with BO MEETS THE MONSTER, followed by Jazz singer, Herb Jeffries with THE DEVIL IS A WOMAN. Jeffries sang for many years with Duke Ellingon and this track, which was recorded in 1953, is on that crazy list of songs that was banned by the BBC. Go Figure.
We couldn’t leave out MONSTER MASH by Boris Pickett and the Cryptkickers, now could we? But the need for real Goth was overwhelming and who better than Concrete Blonde with BLOODLETTING (THE VAMPIRE SONG) from their Still in Hollywood album. Excellent.
There’s lots of spooky music associated with the Blues: Howlin’ Wolf warned us about all the EVIL that’s goin’ on out there and Blind Willie Johnson condenses all of human misery into a wordless, incomprehensible moan in DARK WAS THE NIGHT, COLD WAS THE GROUND. It was up to Otis Spann to elevate our mood with IT MUST HAVE BEEN THE DEVIL followed by the equally rockin’ Leon Redbone with THE WITCH QUEEN OF NEW ORLEANS.
I resisted the urge to play Michael Jackson’s THRILLER because I think we’ve all heard a lot of it lately. But there’s one of his that doesn’t get as much airplay and that’s GHOSTS. As usual, he knew how to make a great video:
More silly than sinister is David Bowie’s SCARY MONSTERS AND SUPER CREEPS and The Who’s BORIS THE SPIDER. I reckon only the Cure know how to frighten the bejezzes out of us when it comes to spiders though. Take a look at LULLABY. Haunting and beautifully dark.
Only Nick Cave can possibly surpass The Cure’s Robert Smith when it comes to Goth. Here’s Nick and the Bad Seeds performing THE CARNY from the album Your Funeral…My Trial, originally released in 1986, and recently remastered and re-released as a CD/DVD set. The clip was filmed for Live and Loud on MTV on 18 May 1997 after Cave had been nominated for the best 1996 male artist and refused the honor (see his letter to MTV on www.nick-cave.com).
I love Tom Waits album Rain Dogs and the track, SINGAPORE, from that album is a fitting song for this show, with its sinister warning to those setting sail for unknown places. Can’t wait to see Terry Gilliam’s latest film, THE IMAGINARIUM OF DR. PARNASSUS, starring the late Heath Ledger and featuring Toms Waits as, (what else?), the Devil. Check out the trailer:
Perfect follow up to that was Robert Palmer’s CASTING A SPELL from his Heavy Nova album of 1988. And to close the show, a beautifully benign tune, after all those scary songs, Bonzo Dog Doo Dah Band’s take on the Frankenstein myth: LOOK OUT THERE’S A MONSTER COMING.
I’m happy to say that Theme Park will be back for another season on BayFM so next Tuesday wlll be our first anniversary and it’s also the day that Australia’s biggest horse race takes place: the Melbourne Cup. Like last year there will be a sweep, lots of prizes and we’ll cross to Flemington for the big race. And the music? I’ve decided that as last year’s was HORSES, this year it will be LUCK. Wishing you all good fortune.
Here’s this week’s playlist:
The Graveyard By Moonlight – Cradle of Filth
House of 1000 Corpses – Rob Zombie
Psycho Killer – Talking Heads
Ghost Town – The Specials
Brides to Darkness – Nox Arcana
I Put A Spell On You – Screamin’ Jay Hawkins
Bo Meets the Monster – Bo Diddley
The Devil Is A Woman – Herb Jeffries
Monster Mash- Bobby (Boris) Pickett And The Crypt-Kickers
Bloodletting (The Vampire Song) – Concrete Blonde
Evil – Howlin’ Wolf
Little Red Riding Hood – Sam the Sham
Plan 9 From Outer Space – Movie Clip
Ghosts – Michael Jackson
Dark Was The Night, Cold Was The Ground – Blind Willie Johnson The Blues – A Musical
It Must Have Been The Devil – Otis Spann
The Witch Queen of New Orleans – Leon Redbone
Scary Monsters (and Super Creeps) – David Bowie
Boris the Spider – The Who
Lullaby – The Cure
Jeepers Creepers – Siouxie and the Banshees
The Carny – Nick Cave & The Bad Seeds
Abbott and Costello Meet the Wolfman – Movie Clip
Hells Bells – ACDC
Singapore – Tom Waits
Casting A Spell – Robert Palmer
Look Out, There’s A Monster Coming – Bonzo Dog Doo-Dah Band
Next Week: LUCK (Suggestions always very welcome!)
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 2-4pm, Sydney time.
Also streaming on http://www.bayfm.org
Tragically also on Facebook: http://www.facebook.com/maccalyn
Most love stories are about people who fall in love with each other. But what about the one-sided love affair? If we were rational we’d acknowledge that its simply addictive emotional masochism; the more unsuitable or unattainable the object of desire, the stronger the fascination. But when you’re madly in love with someone who doesn’t know you exist, being rational is the furthest thing from your mind. We’ve all been there. You feel like the walking wounded, the unloved one, the handicapped without the advantage of a great parking space! Charlie Brown says it best: “Nothing takes the taste out of peanut butter like UNREQUITED LOVE.”
We opened the show with THE GIRL FROM IPANEMA from one of the best bossa nova singers ever, Astrud Gilberto, performing with Joao Gilberto and Stan Getz. There really was a girl from Ipanema – a 15 year old called Heloisa Pinto who used to walk past the Rio bar frequented by the songwriters,Vinicius Morais and Antonio Jobim. The song is a sweet tribute to the totally unattainable as well as an ode to youth. This music video is from the 1964 film “Get Yourself a College Girl”:
KILLING ME SOFTLY WITH HIS SONG has been covered by many artists, most notably by Roberta Flack, whose 1973 version topped the U.S. pop singles charts and won a Grammy Award. We opted to play the equally successful 1996 version, simply called KILLING ME SOFTLY, by Hip-Hop group The Fugees with Lauryn Hill on lead vocals.
Whitney Houston’s version of I WILL ALWAYS LOVE YOU, released in 1992, became one of the best-selling singles of all time. It was written and originally recorded by Dolly Parton and her poignant and bittersweet version, with Parton’s trademark twang, was my choice this week.
I had to include Billy Bragg’s gentle, yet disturbing, song about a classroom crush, THE SATURDAY BOY, even if it was just for the line: ”I had to look in the dictionary/ To find out the meaning of unrequited.” The Violent Femmes’ upped the ante with a song about repressed lust. ADD IT UP has Gordon Gano promising himself, ‘the day after today I will stop’, but the music’s pent-up passion suggests otherwise.
When I announced this week’s theme there was lots of correspondence regarding which genre of music does ‘unrequited love’ best. Yes, I agree with BayFM’s Cowboy Sweetheart that country singers have it pretty much all sewn up, but you can’t go past a little soul music when it comes to love songs, requited or not. A couple of examples: JUST MY IMAGINATION from the Temptations and CUPID from Sam Cooke. And I didn’t forget the soulful sound of Ray Charles with YOU DON’T KNOW ME, delivering a duet with Diana Krall, from his Genius Loves Company album.
Joe Jackson is wonderfully incredulous when he asks: IS SHE REALLY GOING OUT WITH HIM? The Cars, on the other hand, are obsessed with their BEST FRIEND’S GIRL while Bowling For Soup are going nuts over the GIRL ALL THE BAD BOYS WANT. I love a band with a sense of humour. Check out the video from Bowling For Soup. By the way, the band’s name was derived from a comedy act by Steve Martin.
Now if you need convincing that country singers are the kings and queens of the lovelorn, here’s Patsy Cline with I FALL TO PIECES, from the Glenn Reeves Show, February 23, 1963.
LAYLA by the Eric Clapton’s group, Derek & The Dominos, is a tale of unrequited love inspired by Clapton’s relationship with his friend George Harrison’s then wife, Pattie Boyd Harrison. Here’s a video clip from 1984 of Eric Clapton peforming the song live with Bill Wyman on bass, Charlie Watts on drums, Jeff Beck on guitar, Stevie Winwood on piano …. have I died and gone to heaven?
A song that elevates lovelorn moping to operatic heights is Ben E King’s I WHO HAVE NOTHING and another, possibly, is Dionne Warwick’s WALK ON BY, written by Burt Bacharach and David Hal. It was recorded by Warwick in 1964 and became a landmark single for her.
A year later Donovan released his first single, CATCH THE WIND, and in 1967 The Small Faces recorded TIN SOLDIER, a song Steve Marriott wrote to his first wife Jenny. The song signalled a return to the band’s R&B roots after their previous forays into psychedelic rock and other musical experiments. P.P. Arnold can be heard singing back up vocals. Here’s some rare footage of The Small Faces with P.P. Arnold performing on Belgium television. The year was 1968. Go the Mods!
Written by the Bee Gees, IF I CAN’T HAVE YOU was given to Yvonne Elliman when the group became involved in the soundtrack for the 1977 film Saturday Night Fever. She scored a #1 hit in the US with the track.
Going a bit further back in time is the Everly Brothers version of ALL I HAVE TO DO IS DREAM. Recorded in 1958, it was recorded in just two takes and features Chet Atkins on guitar. The B side “Claudette” was the first major songwriting success for Roy Orbison. Two years later, Orbison recorded ONLY THE LONELY, his first major hit. An operatic rock ballad, it was a sound unheard of at the time, described by the New York Times as expressing “a clenchied, driven urgency.” Here’s Roy performing the song during the Black & White Night concert. No-one does it like the Big O.
From the sublime to the ridiculous: a teenager falls in love with a pin-up girl, in a picture dated 1929, in The Who’s PICTURES OF LILY and Fountains of Wayne sing about a schoolboy’s lust for his friends mother in STACEY’S MUM.
And then it was a couple of classics: FOR NO ONE from The Beatles Revolver album, written by Paul McCartney and a track from one of my all-time favourite albums, I’M WAITING FOR THE DAY from the Beach Boys Pet Sounds album.
In an effort to shake the lovelorn out of the doldrums, we closed the show with Radiohead’s masterpiece of poetic self-loathing, CREEP.
Here’s the complete playlist:
The Girl from Ipanema – Astrud Gilberto / João Gilberto / Stan Getz
Killing Me Softly – The Fugees
I Will Always Love You – Dolly Parton
Diary – Bread
The Saturday Boy – Billy Bragg
Add It Up – Violent Femmes
Cupid – Sam Cooke
Just My Imagination – The Temptations
You Don’t Know Me – Ray Charles & Diana Krall
Strange And Beautiful (I’ll Put A Spell On You) – Aqualung
Is She Really Going Out With Him – Joe Jackson
My Best Friend’s Girl – The Cars
Girl All the Bad Boys Want – Bowling For Soup
White Flag – Dido
My Eyes Adored You – Frankie Valli & the Four Seasons
I Fall To Pieces – Patsy Cline
Layla – Derek & The Dominos
I’ll Kill Her – SoKo
I Who Have Nothing – Ben E. King
Walk On By – Dionne Warwick
Catch The Wind – Donovan
Tin Soldier – The Small Faces
If I Can’t Have You – Yvonne Elliman
All I Have To Do Is Dream – The Everly Brothers
Only The Lonely – Roy Orbison
Pictures Of Lily – The Who
Stacey’s Mom – Fountains of Wayne
For No One – The Beatles
I’m Waiting For The Day – The Beach Boys
Creep – Radiohead
Next week, we’re celebrating Halloween with SCARY SONGS FOR SILLY PEOPLE (or is that SILLY SONGS FOR SCARY PEOPLE?). Suggestions welcome.
Listen to Lyn McCarthy at the Theme Park on BayFM, Tuesdays 2-4pm, Sydney time.
Also streaming on http://www.bayfm.org
Tragically also on Facebook: http://www.facebook.com/maccalyn
Our theme this week was the 60’s and, more specifically, the music that made up the playlists of Britain’s Pirate Radio Stations. There’s a fantastic new film being released this week, called The Boat That Rocked, about this era – and BayFM is hosting the premiere here in Byron Bay. So, yes, a blatant promotion for this film by Richard Curtis, the creator of Four Weddings and a Funeral, and the writer of the majority of the Blackadder series. But more importantly, a great excuse to play all those songs that made the Top 4o lists in the mid to late 60s, not just in Britain but quite often here in Australia as well.
We opened the show with the Kinks hit, ‘All Day and All Of The Night’ and then it was onto The Turtles with ‘Eleanor’, The Beach Boys with ‘Wouldn’t It Be Nice’ and John Fred & His Playboys with ‘Judy in Disguise’. That pretty much set the mood for two hours of nostalgia par excellence!
During this period, the Motown label proved that it could hold its own amongst the pop and the rock that made up the so-called ‘British Invasion’. Three of the best were represented here with ‘Dancing in the Street’ by Martha & The Vandellas, The Isley Brothers with ‘This Old Heart of Mine’ and Smokey Robinson and the Miracles with ‘Ooo Baby, Baby’.
Tommy James and the Shondells made one of the biggest hits of the 60’s: ‘Crimson and Clover’. The song is famous for a unique “wobbly” vocal effect near the end of the song. To produce this effect, Tommy James plugged his microphone into a guitar amplifier, flipped the tremolo switch, and repeatedly sang the line “crimson and clover, over and over”. As it was released in November, a lot of listeners thought he was singing ‘Christmas is Over’.
As well as ‘My Generation’, I also played The Who’s ‘I Can See for Miles’ from their album The Who Sell Out. Released in 1967, it’s an interesting one. A concept album, it’s formatted as a collection of unrelated songs interspersed with fake commercials and public service announcements. The album purports to be a broadcast by pirate radio station Radio London and the release was reportedly followed by a bevy of lawsuits due to the mention of real-world commercial interests in the fake commercials and also by the makers of the real Radio London jingles. We listened to ‘Heinz Baked Beans’ which was a bit of a hoot (and obviously influenced by Monty Python and The Goons). I also played a few sound grabs from the film, ‘The Boat That Rocked’ and gave away tickets to the film.
Now, how can you think about the music of the 60s and not play Roy Orbison? Orbison was a powerful influence on contemporaries such as The Beatles and The Rolling Stones. In 1963, he headlined a British tour with The Beatles, but by the end of the tour he was playing second fiddle to the Fab Four, as Beatlemania gathered pace. John Lennon later claimed that he had joked to Orbison that the Beatles were tiring of opening for him so Orbison agreed to switch, but the audience greeted Orbison with such enthusiasm that the Beatles became concerned that they would not get to perform, and called out to him from backstage, “Yankee, go home.”
He became lifelong friends with the band, especially John Lennon and George Harrison. Orbison would later record with Harrison in the Travelling Wilburys. During their UK tour together, Orbison encouraged the Beatles to come to the United States. When they toured America in the summer of 1964, they asked Orbison to appear with them, but his schedule forced him to decline. Check out these photos to the left. That’s Macca and Orbison doing a ‘separated at birth’ moment.
Unlike many artists, Orbison maintained his success as the British Invasion swept America in 1964. His single, “Oh, Pretty Woman”, broke the Beatles’ stranglehold on the Top 10, soaring to No. 1 on the Billboard charts and No. 1 on the British charts. The record sold more copies in its first ten days of release than any single up to that time, and eventually sold over seven million copies.
Orbison toured with The Beach Boys in 1964, and with The Rolling Stones in Australia in 1965. He was arguably more successful in Britain than his home country, especially from 1963 onwards, logging three No. 1 hit singles and being voted top male vocalist of the year several times there. The song we chose to play in this show was ‘It’s Over’, a UK #1 single in June 1964. Look at this video and share my enthusiasm for one of the greatest voices of all time.
After I played Procol Harum’s ‘A Whiter Shade of Pale’, one of our listeners called in (sorry didn’t get the name) to let us know that the song was all about virgin soldiers going off to Vietnam. There are soooooo many theories about what this song is about and if you go to the Procol Harum fan site http://www.procolharum.com you’ll be able to read some of them. Here’s what Matthew Fisher had to say on BBC Radio 2 in 2000:
” I don’t know what they mean. It’s never bothered me that I don’t know what they mean. This is what I find rather hard, that, especially in America, people are terribly hung up about lyrics and they’ve got to know what they mean, and they say, “I know, I’ve figured out what these lyrics mean.” I don’t give a damn what they mean. You know, they sound great… that’s all they have to do.”
A prominent Aussie band during this period was The Easybeats, with their single ‘Friday On My Mind’. This British Invasion style number was a huge worldwide hit for the group in 1966, making #1 in Australia and #6 in the UK and #16 in the USA. So, of course, it had to be played. Have a look at this video and the very young, fresh-faced Stevie Wright. Not to mention the outfits! And check out the dancers! Great stuff.
Next it was Savoy Brown with ‘Stay With Me Baby’. And then it was onto the Rolling Stones with ‘Get Off Of My Cloud’ and we finished with one of my favourites from the period – ‘Hang On Sloopy’ by The McCoys.
Whew. Great show, if I do say so myself. Here’s the complete playlist:
All Day And All Of The Night – The Kinks
Eleanor – The Turtles Blues
Wouldn’t It Be Nice – The Beach Boys
Judy in Disguise – John Fred & His Playboy Band
Dancing In The Street – Martha Reeves & The Vandellas
This Old Heart Of Mine – Isley Brothers
Ooo Baby Baby – Smokey Robinson/The Miracles
Crimson And Clover – Tommy James & The Shondells
I Can See for Miles – The Who
Black Is Black – Los Bravos
With A Girl Like You – The Troggs
Heinz Baked Beans – The Who
Lady Godiva – Peter & Gordon
Yellow Submarine – The Beatles
She’d Rather Be With Me – The Turtles
Got to Get You Into My Life – Cliff Bennett & The Rebel Rousers
Yesterday Man – Chris Andrews
I’ve Been A Bad Bad Boy – Paul Jones
I Feel Free – Cream
My Generation – The Who
It’s Over – Roy Orbison
The Wind Cries Mary – Jimi Hendrix
A Whiter Shade Of Pale – Procol Harum
Friday On My Mind – The Easybeats
Sunny Afternoon – The Kinks
Nights In White Satin – Moody Blues
These Arms Of Mine – Otis Redding
Sunny – Bobby Hebb
I’m Alive – The Hollies The Hollies
Itchycoo Park – Small Faces
Summer in the City – The Lovin Spoonful
Stay With Me Baby – Savoy Brown
Get Off Of My Cloud – The Rolling Stones
Hang on Sloopy – The McCoys
Next week, to celebrate a great weekend of Blues at the Byron Bay Blues Festival – I’ll be doing Musical Instruments.
Listen to Lyn at the Theme Park Tuesdays 2-4pm, Sydney time, on BayFM 99.9 or streaming at http://www.bayfm.org