The Music of My Life – 1999

Welcome back to The Music of My Life, where I feature ten songs from each year of my life.  In most cases, the ten songs I choose will be ones I like personally (unless I explain otherwise). The songs will be selected from Billboard’s Year-end Hot 100 Chart, Acclaimed Music, and will all be released in the featured year.

In 1999, I turned 29 years old. In September of that year, I would venture into a marriage that would fail years later. Two great sons came out of it though, and that was a great thing.

1999 was also the year that I began receiving monthly CDs with new music on them. It was a great was to always be sure to have clean edits of songs and be current. I received my first CD in May of that year and thankfully so!

I had been hired to DJ a prom. It was the first one I had ever done. I had been able to scrounge up some of the “newer” songs thanks to friends. However, a lot of the brand new stuff not in stores yet. (This is probably before I got my iPod and iTunes). Two days before the prom, that CD had the hottest song on the radio at the time. The song was Ricky Martin’s Livin’ La Vida Loca.

That night, I had requests for it and was surprised (and thankful) it was on the CD! I played it at least three times that night and knew my investment was a good one. Those CDs saved me plenty of times.

Frank Sinatra died on May 14, 1998, which was around the time this song was conceived. Co-writer Desmond Child told Songfacts that Sinatra’s music was a strong influence on this song. He said, “Frank Sinatra’s music was coming out of the airwaves, and we were all of a sudden into this Rat Pack idea, and also the Latin Elvis concept that we had for him. So we put that into the songs, as well – there was a swing aspect to it. So the verses were more like that, and then the choruses were all out rock anthems, with horns. Because horns had fallen out of favor, we brought horns back.”

Paul McCartney’s guitarist, Rusty Anderson, played on the song. Co-writer Robi Rosa asked him to put some guitar on some sections that were blank slates. He remembers: “I was thinking more of a James Bond vibe actually. But I kinda liked the way it counter-balanced the song.”

Anderson recorded his guitar work at his studio intending it to just be a demo. “I didn’t have a reverb to print that I was happy with so I figured the mixer would have the perfect reverb in mixdown,” he explained. “That recording turned into the single. When I heard it on the radio, I was shocked that they left it dry!”

Many years later, the song re-entered my life when I took my son to the movies. In Shrek 2, Puss in Boots (Antonio Banderas) and Donkey (Eddie Murphy) sing it as the credits roll.

Livin’ La Vida Loca

Next is a song that I always felt should have been a bigger hit. I Know How The River Feels was a song that was recorded first by country singer Ty Herndon in 1996. His version was never released. Diamond Rio recorded it for their Unbelievable album and it was their third single from it.

I liked it because it gave Diamond Rio a different sound. This was the first song of theirs to feature outside instruments as they added a string section to the arrangement. The song, however, was met with some negative reviews from critics. It only went to #33 on the Country charts.

I love the way the song uses a river with its twists and turns to describe the search for love. Finally, when it reaches the sea – the search, the twists, and the turns – you reach the final destination.

Now I know how the river feels
When it reaches the sea
And finally finds the place
It was always meant to be
Holding fast, home at last
Knowing the journey’s through
Lying here with you
I know how the river feels

I Know How The River Feels

Hey Leonardo by Blessid Union of Souls is a song that I liked for a few reasons. First, the parenthetical title is “She likes me for me.” Isn’t that what love is about? It’s not about the physical things, the status and such. It is about loving a person because they are that person. Next, I like when a song tosses in some pop culture references.

Songfacts says: This song is written in the form of a letter to someone named Leonardo – a reference to actor Leonardo DiCaprio. In the song, the singer lists many celebrities and the qualities they possess making them attractive to women. He emphasizes that while he does not have the same qualities, his girlfriend loves him just the way he is.

The celebrities that are referenced include: Tyson Beckford, Robert Redford, Steve Buscemi and the movie Fargo. It also references opera singer Pavarotti, model Cindy Crawford, Clint Eastwood’s characterization of Dirty Harry, and Jim Carrey in the movie The Cable Guy.

Hey Leonardo

For the longest time I had only ever heard the clean edit of the next song. When I downloaded “Why Don’t You Get a Job” by the Offspring, it was the album version. It certainly was not edited. As I think of the words that are edited from it, I chuckle. They seem tame compared to what words are allowed on the radio today.

Offspring’s Americana album was a concept album. It examined the unpleasant side of life in America. Songfacts says, The song fits the concept by examining how so many people get by in the country without being productive and contributing to society.

If you listen closely, the melody might sound familiar. That is because it is based on The Beatles song “Ob-La-Di, Ob-La-Da,” with some elements of Simon & Garfunkel’s “Cecilia.”

Why Don’t You Get A Job

I’ve told this story before. When the Dixie Chicks first hit the radio, I did not think they would last. I felt that they had too much of a traditional sound and that listeners would not like it. I was wrong and I am glad that they went on to have radio success.

Their album Wide Open Spaces was full of hits. I came to really love the harmonies of the Dixie Chicks, especially on the last single from the album.

The Chicks’ version of “Tonight the Heartache’s on Me” was released in April of 1999. It had been recorded in 1994 by singer/songwriter Joy Lynn White, whose version was much slower. The Chicks version has a tempo and attitude that conveys all the feelings of the lyrics.

I love the play on words in the title. “The next round’s on me” is something you might hear in bars all over the country. The story of the song takes place in a bar. A gal sees her ex walk in with another woman and “Boom” – the hurt is there. “Bartender, pour the wine, ’cause the hurtin’s all mine. Tonight, the heartache’s on me!”

The song is a guilty pleasure, I suppose.

Tonight The Heartache’s On Me

I hate to say that Sheryl Crow is a cover artist, because she is not. However, her cover songs are really good! Take for example, her cover of 1987’s Sweet Child ‘O Mine.

It was originally done, of course, by Guns N’ Roses. The lyrics came from a poem Axl Rose was working on. Songfacts says that “he wrote the song about his girlfriend, Erin Everly, the daughter of Don Everly of the Everly Brothers. After dating for four years, they got married at a quickie wedding in Las Vegas on April 28, 1990, but just nine months later, the marriage was annulled, with Everly claiming abuse.

The Sheryl Crow version appeared in the Adam Sandler movie Big Daddy. It earned her the Grammy Award for Best Female Rock Vocal Performance in 2000. Her version appears near the middle of the movie right after they take the kid away. The Guns N’ Roses original is also played in the movie (at the end with the credits.)

I think her voice compliments this song very well. Her voice is much better than some of the folks who attempted to sing this when I hosted karaoke!

Sweet Child O’ Mine

The aforementioned green ogre, Shrek, ties in with my next song. I think this is the one that most people associate with the Shrek films. I’m talking, of course, about All Star by Smash Mouth.

Like most Smash Mouth originals, it was written by their guitarist, Greg Camp. He said in a Songfacts interview:

“When we were on tour for the first record, it’s still when people were writing fan mail, like, in the form of paper and pencils and typewriters and stuff,” said Camp. “We would get these big bags of fan mail and we would take them to the Laundromat and do our laundry and read all this mail while we were sitting around waiting for our clothes to get dry. And about 85-90 percent of the mail was from these kids who were being bullied or their brothers or older siblings were giving them s–t for liking Smash Mouth or liking whatever they’re doing or the way they dressed and stuff. So we were, like, ‘We should write a song for fans.’

Before I stopped DJing a couple years ago, this song was still being requested at high school dances.

All Star

It is always great to see an artist from the past make a come back. 1999 was a great year for Carlos Santana!

Most music people are aware of Clive Davis. He is a legendary record executive who has worked with many artists and even appeared on American Idol. He was the mastermind behind Santana’s Supernatural album.

Santana hadn’t had a hit since “Hold On” in 1982, so Davis teamed him with contemporary musicians like Wyclef Jean, Everlast and Lauryn Hill to make sure the younger generation took notice. The result was a wildly successful album that went over well with Santana’s old fans and created a legion of new ones. “Smooth” was the first single; it spent 12 weeks at #1 in the US.

Rob Thomas sang lead on “Smooth,” but that wasn’t the plan. He had never written a song for someone else before, so he jumped at the chance to write a song for Santana. When he finished it, Thomas suggested George Michael, one of his musical heroes, as the vocalist. Arista Records ended up asking Thomas to do the vocals, and when he did, it was in Michael’s style. “If you listen to the melody and the cadence, it’s an attempt to emulate his style in so many ways,” Rob said.

Smooth” won Song Of The Year and Record Of The Year at the 2000 Grammy Awards. Supernatural also won for Best Rock Album and Album Of The Year. Santana picked up a total of eight awards that night.

Fun fact: Santana has the distinction of waiting the longest between his first charting single and first #1 hit. In 1969, “Tango” hit #56 in the US, and 30 years later, “Smooth” was #1.

Smooth

The next song was probably THE ear worm of 1999. It was certainly one of those songs that got into your head. Believe it or not, Lou Bega’s “Mambo No 5” was a cover song! The song was originally done in 1952 by the Cuban-Mexican bandleader Perez Prado. Known as the “King of the Mambo,” Prado recorded numerous mambos. When he ran out of inspiration, he would simply number them. “Mambo No 5” was one of a series of eight.

The difference between the two versions? Perez Prado’s version was instrumental. In 1999, Lou Bega added lyrics to it. By doing so, he transformed it into a love song for several women. Those women: Angela, Pamela, Sandra, Rita, Monica, Erica, Tina, Mary and Jessica. It was reported that the girls he mentioned were all Lou’s former girlfriends. It is probably beyond coincidence that eight of the girls in the song have names that end in “A,” making them quite singable.

Why is it on my list? Because I will forever link it to Barbara Eden. Let me explain. My buddy Steve said to me one day, “Hey. Did you know that you can sing the I Dream of Jeannie Theme song to Mambo No 5 and it fits perfectly?” I looked at him like he was nuts…until I heard it.

So, when you give it a listen, when Lou says, “A little bit of (Girl’s name)…” when he says the girls name, start singing the theme song and watch how it fits. It’s uncanny and it is ridiculous! Now, every time I hear it, that is ALL I hear!

If you’d like me to punch my friend for you, I will.

Mambo #5

Finally, this week a song that I literally just mentioned because of a birth anniversary. Last Tuesday, I featured this for Tune Tuesday and Robert Goulet’s birthday. I didn’t realize that it would coincide with this week’s list. You can read about that here:

…or you can just listen to it here.

You’ve Got A Friend In Me

Alright, which one of your favorites did I miss from 1999? Tell me about it in the comments.

Next week, we enter a new decade with the year 2000. It was a year that seemed SO far away for many of us. We all breathed a sigh of relief when the world didn’t shut down at midnight on January 1st (the Y2K fiasco!). Remember that?

My list next week is straight forward, and has no cover songs on it (I may have to double check to be sure). There are a few songs that strike a chord with me, especially as I celebrated birthday #30. Another good mix comes your way in 7 days.

Thanks for reading.

“Get a load of this guy …”

On Facebook earlier, I posted an article that was written about Honey Radio going off the air.  For the article, they interviewed the “Bard of Lincoln Park”, Boogie Brian (who did an amazing send off for Honey’s last 15 minutes on the air), me, and my partner, Rob Main.  Rob has been on my mind a lot in the past couple months.  Thoughts of him led to the Valentine’s Day Blog on World Radio Day.  I have been meaning to write an entire blog about him for some time, and so here it is.

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I don’t know that I would call him an impressionist, because while he did many celebrity voices, he also did other characters.  His celebrity impressions included Muhammad Ali (We called him “the Champ”), Charles Bronson (We called him “Chuckie Buchinsky” – Bronson’s real name), and Elvis Presley (We called him “EP”, E for Elvis and P for Presley). His other characters included a Hillbilly Ex-Marine named Red Neckman, Red’s brother Earl Neckman (who repeated everything he said two to three times), and Lucky McCloud (the Scottish Weatherman).  What made him unique was that I could say to him, “I need a British doctor”, and he’d be able to come up with the voice.

The first time I ever heard Rob, I was listening to Honey.  I didn’t work there at the time, and I was listening to Bill Stewart.  He was talking to “EP”.  Now I have seen a lot of Elvis interviews, and I gotta tell you, when I heard him, I truly believed it was Elvis!  What was great about the way they handled the character (which continued when we worked together) was that EP NEVER said he was Elvis, but often eluded to the fact that he might be him.  He’d say things like, “I remember when I bought, I mean Elvis bought his mother a Cadillac” and when Lisa Marie married Michael Jackson he said, “I’m very upset about that!  I know Elvis would be upset about it too!”.  I remember that he said his real job was selling cars at Buck Williamson Chevrolet or something…I guess that was his cover.

As I listened to EP, I remember thinking, “If this IS NOT Elvis, whoever is doing this voice has NAILED it!”  What made it work was first and foremost, Rob was an Elvis fan and had a brain full of knowledge about him.  We’d play a song and he’d say, “That song’s from 1958, that’s when I was going into the army” “1961 was the year that I, I mean Elvis made Wild In The Country and Blue Hawaii.  I remember Joan Blackman was so nice to me, I mean Elvis”.  Second, he also knew all of the co-stars, the names of Elvis’ characters in the films, and those things made you truly question whether it truly was The King.  Lastly, he watched almost every Elvis interview.  He had Elvis’ speech pattern down and knew when to pause and when to stretch out syllables and words.  It was perfection.

I remember one Fourth of July, Honey was broadcasting live from the Veteran’s Picnic at Freedom Hill.  I did my show from there and Rob was with me.  He took his microphone and went into some building and we chatted and I’d ask EP why I hadn’t seen him and he’d say, “If I showed myself in public, it’d be pandemonium.  I’m wearing a disguise today.  The disguises that he’d mentioned were things like “My Gregory Peck from Moby Dick disguise” or “No one saw me, cause I was wearing my Chuck Connors disguise from the Rifleman”.  It always cracked me up.

We became close friends, because we shared so many of the same interests.  He was a few years older than me, and he was amazed that I was a fan of old black and white movies.  He loved that we could talk about old TV shows, old actors, and classic films.  He once said to me, “How the hell does a young punk like you know about (Fill in the actor or movie)!?”

He’d comb through old movies looking for “drops”.  A drop is a radio term for a snippet of a movie that you play in a bit, a promo, a liner, or just outta no where.  A drop is often used in a DJ liner.  For example, the big voice guy might say “You’re listening to Keith Allen” and then you insert the movie or TV line “Oh, good….the hippie’s here” followed by the big voice guy saying “On WHND Honey radio” and into a song.  He had some of the most bizarre drops and I would always ask where he got them.  That’s how I came to watch The Jayhawkers (with Jeff Chandler), Mr. Majestyk (with Charles Bronson), Patterns (with Van Heflin), Hercules and Hercules Unchained (with Steve Reeves), The Wild One (with Marlon Brando) and Hotspell (with Anthony Quinn).  We had drops from every one of those films!

Sometimes, we’d just play drops to crack each other up.   Radio is all about theatre of the mind.  It’s about painting a picture.  We utilized sound effects to paint a picture.  We had a “city sounds” tape that we played to make it sound like we were outside in the parking lot.  We had a “bagpipes” tape that played whenever Lucky did the forecast.  We had a door close sound effect to signify when a character had left the studio.  We had a tape marked “fight scene” (which was a barroom brawl from an old western movie) and the sound of glass breaking which we used in a very unique way.

The Chuckie character was “the bouncer”. If we were in the middle of a conversation and someone barged in the studio to yell something at us (which would be the drop), we’d call for Chuckie.  He’d always be annoyed that we called him to take care of the people bugging us.  He’d start to beat the heckler up (the fight scene) and throw them through the studio window (glass breaking) and leave (door slam).  It became such a silly thing, and yet we’d use it often.  Sometimes, Chuckie would have to take care of one of the other characters.  It was insanity.

That last thought brings me to something I have mentioned in the past.  Rob was a wonder to watch as we did a show.  He did all these characters and sometimes, he’d hold entire conversations between two or three of them at the same time.  It was amazing to see him bounce from character to character.  He knew which character was further away from the microphone and adjusted where he was when he talked for that character.  Brilliance!  To watch him argue with himself as two different characters was simply amazing.

If there was a main character that he did, it was probably EP.  I would say the second most used was Red.  Rob said to me that Bill Stewart came up with the name, which doesn’t surprise me because Bill is one hell of a funny guy.  The name is just plain funny.  I’m not sure where this started, but the word was that Red was the station custodian and he lived out in the dumpster behind the station.  Red often fell asleep on the floor of the studio during the show and everyone was always tripping over him.  He spoke with a deep voice and a southern drawl.  He had an opinion about everything.

The final week Honey was on the air was Thanksgiving week 1994.  Red said he wanted to voice his opinion about the Detroit Lions (who were not that great a team that year).  He did this entire rant (with the sound of a teletype underneath his voice) about how he was sick and tired of the Lions always losing and how he was putting his own football team together.  He wanted people to join and offered beer and salami for playing.  He was including members of the Honey Staff and some listeners.  I asked him if I could be on the team.  I think he said I could be the water boy, and then said “No, we don’t have one of those, you can be the beer boy!”

Rob also played himself on the show.  He interacted with me and did traffic reports and such.  I don’t remember exactly what we were talking about, but it had something to do with sailors or something cause I mentioned Popeye.  Rob (as himself) said he remembered Poopdeck Paul, and out of no where Red yells “I remember Captain Jolly!” which cracked me up to where I almost couldn’t recover so as Red he just said, “I think I’m gonna go get me a fish sandwich”….which made me laugh even harder and then we went into commercials.

Lucky McCloud was one of my favorite characters he did.  It was easy for him because he was Scottish.  His mom had a wonderful Scottish accent and I loved when she would answer the phone when I called.  Lucky was basically his mom.  What I loved about Lucky was that he was always accompanied into the studio with his bagpipe player.  He’d always have something to say about Red “That daft man” or me “You’re just a wisenheimer”.  We never knew if it was going to be “Partly McCloudy or Partly McSunny”.

Occasionally, Lucky would talk about how much he loved Scotch (surprise surprise).  Glenfiddich was his brand of choice.  He’d sometimes sound a bit loopy and we’d question him about it and the response was always, “I just had a wee nip”.  That was the great thing about Rob.  I never knew what the characters were gonna do until we turned on the microphone.  That’s a no no in the biz – you always know where you are going with something.  Most of the time, I was able to play along and find “an out”.  Sometimes, it didn’t go so well.  For the most part, what followed was spontaneous humor.

Five of the worst radio moments in Detroit Radio History:  The week Honey went off the air, Rob insisted I do a voice on the air.  I had done it a couple times, but had recorded it.  The character was “Mitch Wallace”, who was loosely based on a real listener who called us all the time.  I had called him at home and used that voice and he said it was so good, he though the guy had his number!  This particular day we had a stupid bit planned.  I was to enter the studio as Mitch.  I was to be upset about the station going off the air.  I was to have a gun and Chuckie the bouncer was going to beat me up and throw me out the window.  If only it had gone that smoothly…….

We had 6 cart (tape) machines.  In #1 was the song we were talking out of.  In #2 was the gunshot sound.  #3 had the fight scene sounds.  #4 had the glass breaking .  #5 had the door slam and #6 had the first commercial.    I had NEVER done the character live before.  So when I did, I saw Rob start to chuckle and I started to lose it.  We both began to laugh hard.  I was laughing so much, I had tears in my eyes and couldn’t see the board in front of me to push the buttons to start the commercial (because by this time, it was obvious we couldn’t do it.  Now out of commercials, we decide to try again.  As soon as I start to do the Mitch character, I started laughing.  We were going to do the weather out of the bit this time, so the first thing I did after laughing was cue up the bagpipe music….miraculously, Rob was able to jump into the Lucky character and eventually the bit happened on the air…..it was a long way to go for something that was probably only funny to us, (which may be why we didn’t find a gig…LOL) but it remains one of my favorite moments on air with him.

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Rob and I spent many hours singing karaoke.  He was in a band and was the vocalist.  He would drag me to this little hole in the wall place on Dequindre called Jacmars.  We’d sing and grab beers.  I’ll never forget there was this one guy who sang there.  No matter what song he sang, he sang it like Mario Lanza or Pavarotti.  We called him Opera Man (this was before the Adam Sandler bit).  You haven’t heard anything until you hear a classic R&B song like Kansas City being sung like its an aria!  (If you have never heard this – consider yourself lucky).  There was another guy who looked and talked like Bela Lugosi.  He spoke like Dracula….and sang like him too!  Rob and I shared many laughs about those nights!!

The week following the station going off the air, we were in and out of the station.  We were editing a tape so we could send them off to try to find a gig.  When we reached a point where we needed a break, we’d go into the old Honey office.  One day, he whipped out this business card and said (like he always did- and I still do to this day) “Get a load of this guy!” It was a guy who was a DJ and his business card was touting him as the best of the best.  Rob grabbed the office phone and called the number on the card.  He got the guy’s voicemail and proceeded to adlib one of the funniest things ever.  “My name is Michael McClingling (I’ll never forget that was the name!) and I was hoping to get you to come to my party.  I hear you are the best and I was hoping you could do a clown act!” (I am literally laughing as I type that!  Man, I wish we had the audio of that) We then wasted the entire afternoon calling this poor guy using different voices and such.

After Honey went off the air, we hoped to find a place to do our show.  Needless to say, there weren’t many stations that allowed for the kind of show we were doing.  Rob was frustrated with the biz and eventually said he was over it.  There was quite a bit of depression afterward, and there were some very difficult conversations that followed.  He was having health issues and I did whatever I could to cheer him up.  He had a lot of stuff happen in his personal life, including the loss of his parents.  There were times I wondered when he hung up if that was the last time I was going to hear from him.  I never knew, because he was buying pay as you go phones toward the end and he always seemed to call from a new number.

The last time I saw him, we had chatted earlier that week.  He had told me that he wasn’t even sure where his parents were buried.  I did some searching and found that they are actually buried at Great Lakes National Cemetery – the same place my mom is buried.  We made plans for me to pick him up where he was staying and I took him to see his folks.  He was overwhelmed with emotion.  He told me that it was the greatest thing anyone had every done for him.  I told him I would let him have some time with his folks, but he insisted that I stay by him. I remember he started talking to his mom and dad.  He told them “I wouldn’t be here if it wasn’t for this kid. He found you for me.”  He broke down and put his arm around me and said, “thanks – now lets go see your mom.”

After that, we talked once or twice.  He had mentioned that he was sick, but didn’t go into much more detail no matter how much I asked.  I don’t know how I knew it, but I had a feeling this was going to be our last conversation. He was a bit too nostalgic.  He reminded me of so many of the fun times we had.  He reminded me of the people we met and our friends from radio.  He reminded me of the day at the cemetery.  He thanked me for being the kid brother he never had.  He thanked me for the many laughs.  The last thing he said before he hung up was, “I love ya, kid”.  Then the phone calls stopped.

It wasn’t until within the last few years that Facebook connected me with a mutual friend of ours.  It was Mary who told me that Rob had passed away.  I remember the shock at first, and then the last phone call replayed in my mind.  He said what he needed to say.  I wish I had done the same.

Today, whenever I see one of those old movies, whenever I see Gregory Peck or Van Heflin, or whenever I hear Roy Hamilton or Brook Benton, I think of Rob.  When I hear Elvis doing an interview on Sirius XM, when I hear Waterloo by Stonewall Jackson, or when I hear bagpipes, I think of Rob.  I have a feeling that I will be revisiting this blog and adding stories, because there are plenty of them I forgot to tell.  I am lucky that I have the last week of shows that we did on Honey Radio in a digital format and can listen whenever I want.  I have listened to them SO many times, and they are just as funny as when we did them 24 years ago.  Thanks for the memories, big brother.

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