Turntable Talk #16 – Coulda Been A Contender

It is time once again for my contribution to Turntable Talk, a series hosted by my friend Dave Ruch at his blog “A Sound Day.” This is the 16th installment and the topic this time around was an easy one for me. The topic this month is entitled “Coulda Been a Contender.” This is simply a song that we felt should have been a hit but wasn’t.

As a music director (the guy who helped the radio station’s program director choose what songs to play) I heard a lot of songs that wanted a spot on our play list. Many times we added songs that never went anywhere on the charts, but we thought they were good. On the other side of the coin, we played a lot of songs that I felt were crap, that wound up being hits.

When this topic presented itself, one song immediately came to mind. Unlike other topics where I went back and forth between 2-5 songs trying to pick one to write about, this one was the only one I felt really should have been a smash. I have felt that way about this song since hearing it the first time. It is a duet by a legendary artist you will know instantly, and a singer whose name you SHOULD know, because she is just that good!

The song is “Where We Both Say Goodbye” by Catherine Britt and Sir Elton John.

From her website at http://www.catherinebritt.com :

She has lived a life in the world of entertainment most will never experience or dream of. The archetypal Aussie girl from the coal works of Newcastle uprooted herself at 17 years old and moved for six years to Nashville TN (USA) where she gained a deep knowledge of country/roots/folk history as well as touring extensively and releasing top 40 Billboard hits.

How did this happen you may well ask. Not every 17 year old moves from Newcastle to Nashville to pursue their musical dreams. Well, the story is that a certain Elton John (yes, THAT Elton John – not to be mistaken for . . .) heard Catherine during one of his Australian tours in the early 2000s. So impressed with Catherine was Elton that he took her albums back to America with him and helped get a deal with RCA Records.

I can only imagine the feeling she had when she heard that Elton John was a fan AND was helping her get a record deal! There is a very cool video of Elton and Catherine that I will share after I talk about the song.

Music, like humor, is subjective. It has a certain power to it. Perhaps my feelings about the song are a bit swayed because of what was going on in my life in 2005. My mother was dying of breast cancer, my son was going through intense therapy for autism, and my marriage was slowly falling apart.

I connected with the song on a personal level, but I also understood that I wasn’t the only person who was having relationship trouble. This song struck a chord with me and I knew that there were listeners who had to be going through the exact same thing. As years went by, this song took on more and more meaning for me. As my first marriage continued to crumble and my unhappiness grew, I heard this song again on my iPod, and knew it was certainly time to “say goodbye.”

I still cannot understand how this song was NOT a hit. Perhaps it was programmers questioning whether or not to play Elton John on a country station? It could have been some consultant who felt that way, too. But today, we see artists crossing over from genre to genre and no one thinks twice about it. Maybe this song was ahead of its time.

Catherine’s voice is simply beautiful. It is almost sultry. Elton could sing just about anything and it would sound great. These two together? Magical! Their voices blend so well. Their harmonies are stellar and they convey the hurt of the lyrics. Here are two people who are dying inside because they both know – it is probably over.

Let the steel guitar pull at those heart strings …..

Where We Both Say Goodbye

A fire that’s left unattended
Surely will burn out and die
Now that we’re down to nothin’ but ashes
Is this where we both say goodbye

Chorus

Is this where two hearts break down and cry
Is this where we let go and give up the fight
Have we reached the point where it’s too late to try
Is this where we both say goodbye

It’s so hard to go on pretendin’
The truth is we’re livin’ a lie
And it kills me to know our love’s dyin’
Is this where we both say goodbye

(Chorus)

I wanted you to hear the song before you watched the next video. This is a very cool piece with Elton and Catherine talking about how they came to meet and eventually record the song. I love watching behind the scenes stuff like this.

https://youtu.be/85pORTOgkkk

The song itself only reached #38 on the Country Singles Chart. Shame on country radio !!

In 2008, RCA dropped her from the label and she returned home to Australia, where she has had great success and continues to tour.

Her website states:

Over the course of her career Catherine has collected a host of accolades, a legion of fans and a mantel of awards including the country industry’s highest honours, 2009 CMAA Female Artist of the Year Award, 2012 CMAA Single of the Year, 2013 CMAA Female Artist of the Year Award, 2016 Female Artist of the Year, 2017 Vocal Collaboration of The Year for her celebrated single “F U Cancer” as well as APRA Award and CMC Artist of the Year nominations. 6 of Catherine’s albums released to date have been nominated for the ARIA Award for the Best Country Album release, which is a first for any Australian country artist. In 2010, Catherine was also presented with the CMA Global Artist of the Year award.

I tend to feel like Elton John in that I have always thought that she was the “real deal!”

Catherine got a raw deal here in the states. Personally, I believe she could have been as big as Martina McBride or Faith Hill. All too often, station programmers will opt to play crap from an established artists instead of playing a truly great song from a newcomer. Stupid radio/records politics!

She has done quite well for herself in Australia. Her fans love her and support her and she has taken control of her career. Her website says that her latest album, Home Truths, is “Catherine’s first release in over 20 years as a completely independent Australian artist. It’s a decision based on Catherine wanting complete control of her career – and having ownership of her own recording masters and copyrights. That’s something that – now as a parent of two young children – she believes is important – and something to pass on to them.“

“Where We Both Say Goodbye” should have been the song that made America country fans take notice of Catherine Britt. It is a song that proves that she is not only an amazing songwriter, but an amazing singer as well. Her music is deep, heartfelt, and honest. I’m glad that she is enjoying the success she deserves, even if it isn’t here in the US.

My hope is that I have chosen a song that is completely unfamiliar to you. If it makes you want to hear more from Catherine, fantastic. If not, that’s ok too. Music is subjective, right?

Thanks again to Dave for allowing me to take part in this monthly feature. I look forward to reading the rest of the gang’s picks and next month’s topic. Thanks for reading..

Turntable Talk #15 – My Home Town

It is time once again for one of my favorite blog posts – Turntable Talk, hosted by Dave at A Sound Day. If you are unfamiliar with this feature, Dave assigns the participants with a specific musical topic each month. This is the 15th installment. This month the topic is: My Hometown

Dave’s instructions for us this time read: “I’m leaving this one rather open-ended for your interpretation, but essentially if you’re in, write about either a song about your hometown, or highlight an artist from your hometown. Likewise, I leave it to you to define what your hometown is – it can be your literal one, or one you live in now or somewhere close by that you associate with.”

As many followers know, I live in Michigan. I was raised in the city of Warren, which is about 20 miles from Detroit (less than 20 miles in some places). When the topic was presented, my first thought was to pic the song Detroit City (which was done by numerous artists). I really don’t consider that song a favorite, so I started thinking about Motown Songs. There were SO many good ones to chose from, but I decided against that, too.

I then did a search of artists from Michigan hoping that one would jump out at me. One did. I wrote briefly about him in the past, but feel he is worth writing about for this topic. I will mention some of his biggest hits, which you will be familiar with, and maybe even include some YouTube links. There is one song that wasn’t a huge hit for him, but it is my favorite vocal by him. I hope you are ready for some excitement – Mr. Excitement, Jackie Wilson!

Jackie Wilson has ties to many other artists and groups, all prior to having a successful solo career. He was considered a master showman and one of the most dynamic singers and performers in soul, R&B, and rock and roll history. His story is really an amazing one to follow, although it does have a sad ending.

The iconic, soulful and energetic stage entertainer was born in Detroit on June 9th, 1934, and raised in the rough neighborhoods of Highland Park, Michigan (13 miles outside of Detroit). He actually began singing as a young boy, accompanying his mother, an experienced church choir singer. In his early teens he joined a quartet, the Ever Ready Gospel Singers, who gained popularity in local churches. Wilson was not very religious, but he enjoyed singing in public. The money the quartet earned from performing was often spent on alcohol, and Wilson began drinking at an early age.

Life was rough for him growing up. At age 15, he dropped out of school. He joined an area gang, which led to Jackie getting in trouble. He got locked up twice in juvenile homes where he eventually learned to box. He entered the amateur circuits around the Detroit area where he met fellow boxer and future Motown chief, Berry Gordy. Jackie would become a Golden Gloves boxer, but after his mother told him ‘that’s enough boxing’, and with a record of 2-8, he turned to music.

Forming the original Falcons, he would be discovered by Johnny Otis, who placed him in a group called the Thrillers. The Thrillers later became the Royals, the same group that backed another Detroit legend, Hank Ballard, but Jackie left before they made their big hits. Joining Billy Ward & the Dominoes in 1953, replacing Clyde McPhatter. He stayed with the group for 3 years, and cut their last real hit “St. Terese of the Roses.” It was after this (in 1957) that he decided going solo would be a better option. He was absolutely right and it paid off for him in a big way.

Signing with Brunswick Records, Jackie would have his first hit “Reet Petite” in 1957, co-written by Berry Gordy, who would become good friends with Wilson over the years, and co-writing a few of his early hits.

Jackie followed this with “To Be Loved,” “That’s Why (I Love You So),” and “I’ll Be Satisfied.” But it was “Lonely Teardrops” that would launch him to a whole new level!

Charting 54 hits from 1957-1974, his stage presence earned him the nickname “Mr. Excitement”! Audiences went wild for his stage show! Go to YouTube and watch some of his live performances! He was amazing. He sang while doing knee-drops, spins, the splits, back flips, one-footed across-the-floor slides, removing his tie and jacket and throwing them off the stage, basic boxing steps like advance and retreat shuffling. Jackie would sing anything from high-powered soul classics, to opera, to ballads – there wasn’t anything Jackie couldn’t sing.

One of those amazing ballads was a song called, “Doggin’ Around” from 1960. The vocal on this song blows me away every time I hear it! You can hear the pain in his voice as he pleads to this woman to stop playing games with him. There is that lone piano plinking along in the back ground and the back ground singers are just enough to enhance the “pain” Jackie is trying to convey. The song itself only went to #15, but I have always felt it should have gone MUCH higher.

Doggin’ Around – Lyrics

You better stop, yeah, doggin’ me around
If don’t you stop, yeah, I’m gonna put you down

Cause, I can’t take it
Much longer
My heart’s getting weak,
It’s not getting any stronger
You keep me so upset,
My head’s in a whirl,
But if you wanna be my girl

You better stop, yeah, doggin’ me around
Cause if you don’t stop, I’m gonna put you down

Now you know you go out nights,
To have yourself a ball
Sometimes you don’t, you don’t make it home at all
I don’t mind you having yourself a real good time,
But now what are you tryna do, tryna make me lose my mind

You better stop, yeah, doggin’ me around
If you don’t stop, I’m gonna put you down
Yes, put you down
I don’t want to do it, but I’ll have to put you down
I love you baby, but still, I’ll put you down…

Elvis Presley’s hairstylist, Larry Geller, once visited Jackie backstage with Elvis after one of his Las Vegas performances. He said that Jackie had a habit of taking a handful of salt tablets and drinking large amounts of water before each performance, to create profuse sweating. Wilson told Elvis, “The chicks love it.” This may not have been the healthiest thing to do, and may have contributed to his tragic end.

On September 29, 1975, Jackie was one of the main acts to be featured in Dick Clark’s Good Ol’ Rock and Roll Revue at the Latin Casino in Cherry Hill, New Jersey. While singing “Lonely Teardrops,” as he sang the words “My heart is crying” he collapsed on stage; audience members applauded as they initially thought it was part of the act. He had suffered a heart attack onstage. Dick Clark sensed something was wrong, then ordered the musicians to stop the music.

Due to the lack of oxygen, he fell into a coma, of which he never recovered. He was moved to a retirement community in Mt. Holly, New Jersey, where he needed constant care. Elvis Presley paid for a lot of his medical expenses. On January 21, 1984, Jackie Wilson died at the young age of 49.

So many great singers hail from Michigan, and the Detroit area. Jackie Wilson was an amazing talent who, despite a short career, left us so many great songs! He posthumously received his star on the Hollywood Walk of Fame on September 4, 2019. He is buried at Westlawn Cemetery in Wayne, Michigan. His tombstone reads “No more lonely teardrops.” A bench in front of his grave says, “Jackie – The Complete Entertainer.”

Thanks again to Dave for allowing me to take part in this feature! I truly look forward to writing for it and reading the other participant’s entries. I am already waiting patiently for next month’s topic.

Turntable Talk – Feels Like The First Time

It’s time for another round of Turntable Talk. This is the 14th edition hosted by Dave over at A Sound Day. As always he has presented our little group of music lovers with a great topic.

In his instructions he asks:

“Do you remember what the first album you bought was? LP? CD? Reel to reel, LOL? Why that one? Do you still have it? Would you want to ? Let your nostalgia run wild! Tell us about that first record you made your own.“

Let me start by saying that many of the albums my dad had, eventually wound up as “mine.” When I think back to the albums I remember there are some that I will never forget. To be clear, my dad bought these, but I wound up listening to them. He had many from Roy Orbison, Elvis, Lenny Dee, Herb Alpert, and so many others. The ones that eventually wound up in my room were a bit odd.

First, there was Dumb Ditties. An album of novelty songs put out by K-Tel. What 6 year old kid didn’t like silly songs?

Then there were two albums that had TV themes on them. There were not the original artists, and this was long before TV Toons put out their collections. They were actually pretty cheesy versions that a kid like me knew weren’t quite right, but close enough. They had goofy cartoon drawings of the main characters from the shows on the cover and were done by the Pop Singers and Orchestra. Was that even a real group?!

The last album that my dad bought that wound up in my record collection was the 1977 album of The Muppet Show. It had the theme song, Mah-Nah-Mah-Nah, and plenty of clips of the two old guys heckling the acts.

Now as far as the first album I actually bought, my memory is hazy. I know it had to be one of two and I know I would have bought them within a week of each other.

I had a paper route. I remember that you collected whatever your customers owed you for the week, and you paid for your papers. Whatever extra tip money you made was yours. I don’t recall making a lot of money, but it was enough to go up to the toy store to buy Star Wars stuff or to Harmony House to buy an album.

My dad had a couple of the Beatles albums. He had the blue and red greatest hits albums with them looking over the railing.

I loved the Beatles growing up – early Beatles. It took me a while to appreciate the later Beatles stuff. I recall walking into the Harmony House and grabbing either Beatles ’65 OR Beatles VI. I wish I could remember which one was THE first. I know, however, that these two albums were bought almost immediately after I began delivering papers.

Whichever one I bought first, I suppose doesn’t matter. These two albums contain some of my favorite songs by the Fab Four and they were played over and over again.

“This happened once before, when I came to your door. No reply….” A cold open starts Beatles 65. Boom! There’s John. What follows on the album was a variety of musical nuggets that my young ear just loved!

The harmonies sounded even better with headphones. I’m a Loser, Baby’s In Black, I’ll Be Back, and Mr. Moonlight each had me trying to sing all the different notes. There were great cover songs like Honey Don’t, Everybody’s Trying to Be My Baby, and Rock and Roll Music. Then there was I’ll Follow the Sun. Beautifully simple.

Beatles 65 was an album I played from start to finish many times.

As for Beatles VI, there were “skip” songs on this one for me. Skip songs were You Like Me Too Much, Words of Love, Tell Me What You See, and Every Little Thing. Why those didn’t do much for me, I can’t say.

I, of course, loved those great cover songs – Dizzy Miss Lizzie, Bad Boy, and Kansas City. I knew all of these songs by their original artists, but came to dig those Beatles versions more.

As a kid, I often found myself drumming my desk in school to the opening of Look What You’re Doing. The teachers told me to leave the drumming to Ringo!

The one song that is the stand out for me on the album was Eight Days a Week. What a great song. It is one that even non Beatles fans know, love, and sing along to. I could be mistaken on this, but I swear there was no fade in on the album. I remember the first time I played this at a radio station and the fade in happened – it freaked me out. Either way, it is one of their best songs.

My love for the Fab Four started very early in life thanks to the musical influence of my mom and dad (and maybe that Beatles cartoon). That love for them continues to this day. It only makes sense to me that the first album I would buy would be from them! These albums remain as fresh today as they were when they were released – years before I ever got my hands on them.

Thanks again to Dave for inviting me to take part in this feature. As always, I look forward to reading the other contributions and to next month’s topic.

Brief Update

I have been reading more over the last few months. As a matter of fact, I’ve probably read more books in the last 6 months than I did all last year. I just finished up another one from Anthony Horowitz. He has earned a spot on my list of “must read” authors.

I went through my “want to read” list on Good Reads and requested a few more from the library. I am currently reading a fascinating book from Patricia Cornwell on Jack the Ripper.

She wrote it back in 2002 and I think I found this at a used book store a few years ago. When I ran out of books from the library, I went to my home “to read” stack and picked this one off the top. I don’t know much about the Jack the Ripper murders, but this book seems to line up with a PBS special I saw a few years ago.

I also got my hands on a DVD copy of The Offer, which was a mini-series that streamed on Paramount+.

If you know anything about me, you know how much I love the Godfather movies. This is the behind the scenes story of how the Godfather went from a best selling book to the amazing award winning film. I haven’t gotten far, but I did get one episode in. I can’t wait to finish this.

On the Horizon …

I think I have decided on a topic for a “feature” I want to host. It will probably involve childhood Saturday mornings …
I recently finished up my post for Dave’s (A Sound Day) Turntable Talk. It involves a childhood musical memory.
I have been wanting to write on something for a while and I’ve decided that my brother is the perfect person to help me with it. That will be coming soon.

Have a great day!

I’m Thinking …

I stumbled on the above quote as I sat here thinking. If writing (or blogging) is the best way to improve my thinking, I figured I would just start typing and publish whatever winds up here.

Looking Ahead

I just finished another post for Dave Ruch’s Turntable Talk recently and I have come to really look forward to it. Yesterday, I put the finishing touches on an post I wrote for Max at the PowerPop blog. He is doing a “Beatles” themed week. Watch for that to post here in a week or so.

Max and Dave are just a couple of the normal bloggers that I have come to know. There are many others who participate in these monthly (or occasional) features. In the past I have also participated in Blogathons about movies and other “themed” features. I have also done “answers” to interview questions for more than one blog about radio, sleep, and other nonsense.

I say all that because I have often thought about hosting some sort of “theme” feature. Maybe not a monthly one, but an occasional one. Would any of my readers even want to commit to something like that? I don’t know if it would be music, movie, or book related. I really don’t even know what I could come up with. I know that my followers have increased because of “cross blogging,” so maybe I could help others get a few extra followers, too. My mind is still churning this around.

I have also had a couple “Guest Bloggers” here. I would love to do that again. My brother (who does not have a blog) wrote some very fun stuff about me and Max offered up some Beatles thoughts (no surprise there!). I have featured poetry from a few poets I follow that hit home. I wonder what the best way to handle a “guest” blog would be. Is it an interview? Is it giving a topic? I don’t know.

I did a few “call outs” to Facebook friends who could provide questions that they’d want me to answer on here. Keith’s Q&A. I did that a couple times and it was fun. The last time I asked for questions, I got stuff like “If a train leaves the station at midnight … blah blah blah.” I know they were trying to be funny, but I was hoping to get some serious questions.

The whole thing is churning around in my mind like when I used to try to create a bit to air on my radio show. The idea or topic is there – I just need to find the angle or the punchline to create around it. For now, I will keep thinking. If you have done anything similar, I’d be open to your ideas. If you have an idea for something you’d love to write about, let’s chat about it.

A to Z

Do you do the A to Z April Blog challenge? A couple blogs I follow have mentioned that it is coming up and to begin planning for it. Basically, you write about something every day for the month and each day the topic is a different letter – starting with A and going to Z. Some pages offer themes for the challenge – Favorite Books, TV Shows, Movies, Actors, etc…

Committing to an entire month sounds difficult to me, so I am trying to decide whether or not to participate. I guess I will have to see if I can find theme that I wouldn’t mind visiting 26 days in a row (although I think you take Sundays off). More to come on that ….

Contact

If you would like to write something or offer an idea that you would rather not put in the comments, you can reach me at: nostalgicitalian@yahoo.com

Turntable Talk – The First Time’s the Charm!

It is time for another round of Turntable Talk, hosted by Dave at A Sound Day. This is the 12th round that I have participated in and it has quickly become one of my favorite “features” to participate in. There has not been a topic that Dave has presented that has not been interesting for me to explore. This round is no exception. If you haven’t already, be sure to check out his site and read the contributions of other music lovers, too!

For this round, Dave’ says, “This time around I’m calling it “First Time’s The Charm.” Let’s look at an artist whose debut really impressed you. It can be one that just knocked you out first time you heard it when it was brand new, or one you went back & discovered later. As long as it showed a band or singer that hit the ground running.“

In talking with one of the other participants this week, I mentioned that with each topic, one choice always seems to hit me immediately. Then I begin to think about other possibilities, and without fail I always seem to come back to the first choice. This time around, I decided not to consider anything else and go with the first thing that came to mind.

It is 1989. In our living room is the shelving unit that contains my dad’s stereo system. One shelf holds the receiver/amplifier while the cassette deck and Sony Mini-disc players sit on top of each other on the shelf above that. Two speakers sit on top of the unit. A turntable sits on a shelf that slides out on the top left of the unit. Under that, on a shelf all by itself is a Sony CD player.

My dad calls me out to the living room and says, “Keith, you’ve gotta hear this!” My dad has certainly played a major role in sharing great music with me. The above phrase was spoken by him to me more times than I can count. Oh, the music he introduced me to! I would have to say that 9 times out of 10, it has always been something that I have really liked. The CD he popped in the player was the debut album from The Kentucky Headhunters.

The group started back in the late 60’s and called themselves “Itchy Brother.” In 1980, the group was almost signed to a record deal at Swan Song Records, which was a small label founded by the band Led Zeppelin. However, Zeppelin drummer John Bonham died that year and the label folded. Itchy Brother disbanded in 1982. In 1985, there was an attempt to reunite the group. This attempt led to a few new members joining while some original members decided not to be a part of the group. Now missing some of the original members, a new name was chosen for the band – The Headhunters. It didn’t take long to find out that there was another band using that name, so “Kentucky” was added to the name.

The group decided to take out a loan to record a demo. That demo included some original songs and some cover songs. They had hoped to press copies of the demo to sell as merchandise at their live shows. It didn’t take long for that demo to get noticed by folks in Nashville. The group was not really interested in signing a record deal, but their manager suggested that they talk with producer Harold Shedd at Mercury Records. They were signed to their deal in 1989 and the demo was released as their debut album “Pickin’ on Nashville.

I hadn’t intended on listening to the whole album that day, but when my dad hit play, I really liked what I heard. While they certainly had a Southern rock sound, it wasn’t really completely Southern rock, if that even makes sense. It is kind of a mixture of country, Southern rock, a bit of blues, classic rock, a little rockabilly, and maybe even a little bit of metal. It was like nothing I had heard in some time. It was a very unique mix of various styles and types of music.

The first cut on the album was a cover of Bill Monroe’s Walk Softly on This Heart of Mine. Bill’s version has a very bluegrass feel to it. The Headhunters had me from the opening guitar lick. Then I was really digging the harmonies of the group. The guitar solo had a rock/B.B. King feel to it, which I just loved. The debut single reached number 25 on the Billboard Hot Country Singles Chart, the first of 4 Top 40 singles for the band.

The second single from the album is probably their best known song, but not quite their biggest hit. It almost didn’t make the album, though. Dumas Walker is a song that is about a Kentucky hangout. The lyrics tell of hanging out there eating a “slawburger, fries, and a bottle of Ski.” Folks in Kentucky knew that a slawburger was a burger with cole slaw on it, and a bottle of Ski is a soda that is a lot like Mountain Dew. The record company wasn’t too keen on it, though.

Producer Harold Shedd felt that the song was too local. He felt like no one outside of Kentucky would connect with the song. He asked band member Richard Young if they would be willing to leave the song off the record. After much discussion, Young says that he convinced Shedd to keep it on the record. He said that Shedd was missing the point – that every place had their own “Dumas Walker’s and they can relate to that!” He was right. The song was a top 20 hit for the band in 1990.

Another thing that helped get the band recognition was CMT (Country Music Television), which was the country version of MTV. The early headhunter videos are a blast to watch. How could anyone possible turn off a video set in a bar with people playing marbles, the lead singer juggling bowling pins, and the drummer banging on his drum kit with no shirt and a coon skin cap on!? Incidentally, the video was nominated for the CMA video of the year in 1990.

Richard Young says that the group had a “magnetism that people just couldn’t resist” and compared it to watching the old Monkees TV show. He said, “People want to be entertained. If you can’t hold their eyes, they will wander.” Watch a few of their videos and you will certainly be entertained.

The third single from the album was another cover song. This time it was a cover of Don Gibson’s “Oh, Lonesome Me.” Gibson’s version is very typical 1960’s country. The Headhunters version kicks it up a notch with a driving beat and video that really fits the “Monkees” description above. This song peaked at number 8 and would be the band’s only Top 10 hit. The fourth and final single from the album was “Rock and Roll Angel,” which is mostly forgettable.

The band enjoyed great success in 1989/1990 because of their debut album. In 1990, they won the Academy of Country Music’s Top New Vocal Duo or Group Award , The Country Music Associations Vocal Group of the Year, and the CMA Album of the Year. They also won a Grammy for Best Country Performance by a Duo or Group that year.

Sadly, their follow up album Electric Barnyard was a major disappointment. It was certified gold, but the singles released to radio didn’t get much airplay. Citing creative differences, Ricky Lee Phelps and Doug Phelps left the group in 1992 to form their own band, Brother Phelps.

The band has continued to tour with a variety of different members and their last album was released in 2021. They never really enjoyed much success after that debut album. That being said, I believe their fresh sound really paved the way for (and had a big influence on) some of the more recent country singers who have a more “rock” sound.

One thing I think is important to mention is that the Kentucky Headhunters hit the scene at a very unique time in country music. In 1989, this new group stood out during a time that also saw country music’s amazing “Class of ’89” hit the scene. They were in the thick of things at the same time that Alan Jackson, Clint Black, Travis Tritt, and a dude by the name of Garth Brooks were getting their debut’s as well. The fact that they made waves amongst those guys is a testament to that first album.

It is hard to say what factored into the decline in popularity. Was it hard to get airplay with all of those other big names taking off? Was the music that followed just not good enough? Did the loss of the Phelps Brothers put the nail in the coffin for the band? Maybe it is a little bit of each of those things. The Kentucky Headhunters recorded 9 studio albums, but you really only need to get their debut, Pickin’ on Nashville. It is as good as it gets.

Turntable Talk – A Really Big Show

It’s time for another edition of Turntable Talk with Dave from A Sound Day. He continues to come up with interesting musical topics for his circle of “melodic” blogger friends. When he emailed each of us, he mentioned reading a book about a cafe’ where you could time travel (with restrictions). That got him to thinking about “how it would be cool to go back and see some historic concerts. So the next topic is … A Really Big Show ! If you could safely go back in time and move about for one day, what one concert or live performance would you choose to go to?“

There are so many great concerts I could choose from. I thought about the Beatles at Shea Stadium, Buddy Holly’s last concert, Elvis’ Aloha From Hawaii, Woodstock, Queen at Live Aid, just to name a few. I decided to go with a concert I have heard, but would have loved to experience it live.

November 26, 1962. Villa Venice, Chicago. Dean Martin, Frank Sinatra, and Sammy Davis Jr.

A friend of mine knew that I was a Dean Martin fan and worked at a record store. He called me and told me he had an amazing CD set for me. At that time, I had heard plenty of Dean Martin recordings, but never a live one (and certainly not one with Frank and Sammy, too)! I can’t even begin to tell you what a thrill it was to hear the Rat Pack in their prime having a blast on stage together!

The concert itself starts with Dean warbling, “Drink to me only … that’s all I axe ….(correcting himself) ask. And I will drink to you.” The band begins to vamp an intro over and over. My first listen I wondered what was going on. What’s with the vamping? Then Dean says in all seriousness (and in character), “How long I been on?” Hilarious. After his first number (a parody medley of When You’re Smiling and The Lady is a Tramp), he does 5 minutes of comedy and I was belly laughing.

After Dean’s set, Frank comes on and does his set. He comes out swinging and sings a few tunes, then does a brief comedy set and wraps with more songs. Sammy comes out last and while he is on stage Dean and Frank are heckling him from back stage. It was evident just how much they loved hanging out together and how much fun they were having.

At some point in Sammy’s set, Dean and Frank come out and the three of them joke and sing and laugh. I know that for the most part the show is scripted, but as you listen, it sounds completely spontaneous and you are left to wonder what was ad-libbed and what was written.

The show is an absolute joy to listen to! The Chicago Tribune said Frank, Dean and Sammy, “croon, carol, caper and clown to the biggest cabaret audiences this town has seen in years.” I doubt they could get away with some of the stuff said on stage today, but it is a wonderful piece of entertainment history.

What I didn’t know was the circumstances of the show itself. The Villa Venice was an ailing nightclub where mafioso Sam Giancana had a piece of the action. The Villa Venice had been tricked out in a style imported from Las Vegas. Giancana reportedly spent upward of $250,000 to restore it and its canals plied by gondolas. The showroom seated 800, was furnished with satin ceilings, tapestries, and statuesque, lightly clothed showgirls. Nearby was the ultimate accouterment of a Vegas-like operation: a gambling casino in a Quonset hut a few blocks from the Villa. High rollers were whisked between the supper club and the dice and roulette tables in a shuttle.

The Chicago Tribune said, “Shortly before the Sinatra show closed, the casino shut down under belated pressure from law enforcement authorities who told the Tribune that the gambling operation had grossed $200,000 in two weeks. That threw a monkey wrench into Giancana’s business plan, which depended on recouping his investment by attracting gamblers with a parade of big-name acts. But how could he hope to book stars like Sinatra and his buddies into a scarcely known venue in the hinterlands of Chicago? What kind of money did he dangle in front of them? Wondering if there might have been a nonmonetary enticement, the FBI interviewed the Rat Pack during their engagement. Perhaps the feds took a clue from Dean Martin’s rewording of the old standard “The Lady is a Tramp“:

I love Chicago, it’s carefree and gay

I’d even work here without any pay.“

The Rat Pack’s Villa Venice appearances were wildly successful, as the Tribune reported: “It is now estimated that the total Villa loot for the seven-day Sinatra-Martin-Davis run will hit $275,000 to $300,000, a new night club record.”

Apparently, the Villa Venice never again hosted big-name stars after the Rat Pack shows. It continued operating thereafter as a catering hall, with a new management taking over in 1965. Two years later, it was destroyed by a spectacular, and mysterious, fire. The spot is now a Hilton hotel.

I have seen plenty of footage of Dean, Frank, and Sammy performing on various TV shows and in documentaries. I can only imagine just how amazing it would be to see their show live and in person. Each one of them was a talent in their own right and their solo shows would be a must see, but to have them all together on one stage – wow!

The CD’s of the show are available online if you search for them and are worth the money!

Thanks again to Dave for allowing me to take part in this feature. I cannot wait to see what the other participants are going to write about. I’m already looking forward to the next topic!

Christmas Dragnet

I will be offering up a couple of my favorite Christmas songs as part of the Turntable Talk feature hosted by Dave at a Sound Day. My entry will show up on Saturday. You can read my entry here and on his site.

This post will also feature a Christmas favorite that many have never heard before. I wouldn’t consider it a Christmas “song,” but more of a “sketch.” I heard this many years ago on a “best of” collection from Stan Freberg.

Let me give you a little back ground. Stan was a was an American actor, author, comedian, musician, radio personality, puppeteer and advertising creative director. He was a master satirist and was recruited by Capitol Records when they launched their Spoken Word division in the early 1950’s. He had been doing voice work in cartoons in the 1940’s and began producing satirical records in 1951.

In 1949, Jack Webb debuted on radio as Sgt. Joe Friday on the program Dragnet. It was a huge hit and it was perfect for a satirical parody. In 1953, Stan’s first Dragnet release was St. George and the Dragonet – set in medieval days where a night is searching for a Dragon. The recording featured June Foray and the great Daws Butler – two of cartoon’s most famous voices!

Stan wanted to use the Dragnet theme (written by Walter Schumann) for his production. Capitol Records insisted he get the permission of Dragnet star and Jack Webb. Being a Freberg fan, Webb liked the idea, approved the use of the theme and allowed Freberg to use the same orchestra from the Dragnet series with Schumann conducting.

For Christmas Dragnet (also called Yulenet), Freberg once again played the “Joe Friday” character and Daws Butler was his partner Frank. This simple six minute recording always makes me laugh and always makes me smile. In a nutshell, it’s Christmas Eve and Joe and Frank are working the “holiday watch.” The story focuses on a guy named Grudge, who was picked up by the squad for refusing to believe in Santa Claus.

Even if you are not familiar with Dragnet, I think you will enjoy this. And you will always question what to call green onions after hearing this! Enjoy!

“This is the season ….”

Turntable Talk #8 – Best Year In Music?

Once again, Dave from A Sound Day has asked some of us music lovers to participate in another round of Turntable Talk. This time around was a bit of a challenge for me. Dave’s e-mail stated:

“Put your thinking caps on and go through your stacks of records (or scroll thru that I-pod) and … come up with what you think the best year for music was. A tough call of course, thankfully there have been more than a few good ones! I’m interested in what you pick and don’t worry if yours duplicates someone else’s , you still have your reasons which might be different.” He goes on to say, “I think I have a guess on a couple of years that might come up more than once, but we’ll wait and see.”

This particular blog will be one of the last ones to be featured and I do not know if my year will be or has been featured. I plan on writing this KNOWING that the year I have chosen very well may be one that comes up in another post. Before I tell you the year I picked, let me tell you that I had a very difficult time narrowing it down.

My first thought was to go with 1956/1957 because those years were always so unique. You had the birth of rock and roll mixing with pop standards. When I worked at Honey Radio, I loved doing the Top 12 at 12 show when those years popped up because there was such a big variety in what was played. You could go from Elvis or Jerry Lee Lewis to Pat Boone or Nelson Riddle. When I looked at the list of songs, however, were they really the BEST? No.

The same thing can be said for some of the years in the 70’s decades. I looked through many lists and while there were many great songs, there were also a lot of really crappy songs! I just couldn’t really come up with the conviction to pick a year in that decade as the BEST.

One year kept coming up every time I started thinking about it – 1964.

I want you to know before I continue that I was dead set AGAINST 1964 when I read Dave’s e-mail. Why? Well, I felt that it would just be too Beatle heavy and loaded with British Invasion stuff. And it is. On the Top 100 Chart, The Fab Four nabbed 9 spots. 18 spots were held by other British Invasion acts. In total 27% of the Top 100 were British acts. When I really looked at the chart, the more and more I felt like this WAS the year.

1964 really was the year of the Beatles, so let’s discuss them first. They were present almost right from the start as their “Introducing The Beatles” album was released in America on January 10th of that year.

This album preceded Capitol Records “Meet the Beatles” by 10 days and there was a lawsuit surrounding that whole issue. Capitol Records won an injunction and Vee-jay Records was not allowed to put out any more Beatles recordings.

In February of 1964, the Beatles arrived in the US and appeared on Ed Sullivan’s show three times (2/9, 2/16, and 2/23). In March of 64, Billboard magazine stated that the Beatles were responsible for 60% of all single record sales! In a feat that has yet to be matched, on April 4, 1964, the Beatles held the Top 5 spots on the Billboard chart!

A week later, the boys held 14 spots on the Hot 100 Chart! That broke the previous record of 9 spots held by Elvis Presley in 1956.

In May, The Beatles Second Album was released and in July, they would release A Hard Day’s Night in theaters. “I Want to Hold Your Hand” wound up being the #1 song for the whole year of 64 (“She Loves You” was #2) To say that they played a small part in the music of 1964 would be a huge understatement.

Among the other artists that came over from “across the pond” in 64 were Manfred Mann (Do Wah Diddy Diddy), Billy J. Kramer and the Dakotas (Little Children and Bad to Me), The Dave Clark Five (Glad All Over, Because, Do You Love Me), Peter and Gordon (A World Without Love), The Animals (House of the Rising Son), The Honeycombs (Have I The Right), Dusty Springfield (Wishin’ and Hopin’), Gerry & The Pacemakers (Don’t Let the Sun Catch You Crying and How Do You Do It), Chad and Jeremy (A Summer Song), The Kinks (You Really Got Me), and the Searchers (Don’t Throw Your Love Away and Needles and Pins). It is interesting to note that the Rolling Stones debut album was released this year, but no songs appear in the Top 100 for the year.

Once you move away from the British artists, the chart has a nice variety of pop, rock, folk, country, soul, and even a few novelty songs. I think that is what made me ultimately choose this particular year.

It was nice to look over the Top 100 and see Motown represented with some classics. The Supremes hold two of the six Motown songs (Where Did Our Love Go and Baby Love), Motown was female heavy as Mary Wells (My Guy) and Martha and the Vandellas (Dancin’ In The Street) grabbed the next two spots, and the male gender was represented by The Four Tops (Baby I Need Your Loving) and The Temptations (The Way You Do The Things You Do).

While they were not “oldies” at the time, there were some classic songs that are still in hot rotation today on the oldies stations across the country. Roy Orbison had a smash with Pretty Woman in 64, and also had a hit with It’s Over. Frankie Valli and the Four Seasons grabbed three of the Top 100 with Rag Doll, Dawn and Ronnie. The Beach Boys only entry in the Top 100 was I Get Around.

1964 brought us classics like The Drifters Under The Boardwalk, Chapel of Love by the Dixie Cups, Suspicion by Terry Stafford, It Hurts to Be In Love from gene Pitney and Come A Little Bit Closer by Jay and the Americans. Johnny Rivers had a hit with Chuck Berry’s Memphis, Bobby Freeman invited us to C’mon and Swim, Detroit’s Reflections offered up Just Like Romeo and Juliet and the Shangri-Las told us the story of the Leader of the Pack.

Car songs were well represented in 64! Ronny and the Daytonas had GTO, while the Rip Chords sang Hey Little Cobra, and the Hondells had Little Honda. Jan and Dean told us the stories of The Little Old Lady from Pasadena and Dead Man’s Curve, while J. Frank Wilson and the Cavaliers told us the tragic story of a Last Kiss.

Soul music is represented by The Impressions (I’m So Proud and Keep on Pushing), Joe Hinton (Funny How Time Slips Away), The Tams (What Kind of Fool Do You Think I Am), Jimmy Hughes (Steal Away) and Nancy Wilson (How Glad Am I). If you throw Blues into the “Soul” mix, the great Tommy Tucker song “Hi Heel Sneakers” was out in 1964.

Instrumentally, Al Hirt had a monster hit with Java, The Ventures had Walk Don’t Run 1964, The Marketts had The Outer Limits, and Robert Maxwell had the incredibly cheesy lounge version of Shangri-la. While novelty songs included Jumpin’ Gene Simmons (Haunted House), The Trashmen (Surfin’ Bird) and Roger Miller (Chug-a-Lug).

While Rock was dominant in 1964, there were still some pop (and even folk) songs that made the Top 100 – one of them, doing the “impossible.” Two of the biggest pop hits of the year couldn’t be more different from each other. The third biggest hit of the year belonged to Louis “Satchmo” Armstrong and his Dixieland hit “Hello, Dolly!” Barbra Streisand (who won Album of the year at the 1964 Grammy Awards) had the 11th biggest hit of the year with “People.”

Pop/Folk was also represented by Gale Garnett (We’ll Sing in the Sunshine), The Ray Charles Singers (Love Me With All Your Heart), Dionne Warwick (Walk On By), Al Martino (I Love You More and More Every Day), and Andy Williams (A Fool Never Learns). But the biggest surprise came from an artist who hadn’t had a top 40 record since 1958!

Dean Martin didn’t care for Rock and Roll. With the British Invasion in full swing, there was very little chance of him ever having another hit. His kids loved the new artists. His son, Dean Paul, loved the Beatles. Dean told his boy, “I’m gonna knock your pallies off the charts!” On August 15, 1964 – he did just that with a song that became his NEW theme song, “Everybody Loves Somebody.” (It replaced That’s Amore as his theme song)

The song knocked the beloved Beatles A Hard Day’s Night out of the number 1 spot! It went on to stay at #1 on the Pop Standards Singles Chart for 8 weeks. It also became the theme to his weekly television show in 1965.

I picked 1964 for a few reasons. Despite my initial worry about it being British act heavy, it was the year that introduced us to the Beatles (who changed the music scene forever!). It is also the year that one act held the top 5 spots on the charts (a record that remains in place). It is also the year that my favorite singer of all time bumped the biggest group in music out of the top spot.

It is also a year that encompasses such a vast variety of music. While there may be better songs that appeared before and after 1964, it truly represents a unique time in history. America was still recovering from the loss of a beloved president, there were still Civil Rights issues, and a war in Vietnam. The music of 1964 was a welcome escape from so many things.

Was it all good? No, and that is true of every year. However, as I look at the 100 biggest songs of the year, there are a lot of great songs that have gone on to become classics. There are so many songs that are still looked at as pivotal in the music scene. The fact that many of these songs are still getting airplay today is a statement to just how good they are.

Thanks again to Dave at a Sound Day for allowing me to be a part of this feature. I can only hope that my contribution is worthy of an invite to participate in the next round.

Life Turns On A Dime

Just what does that even mean – “Life turns on a dime?” A quick Google search will offer up some explanations for folks unfamiliar with the phrase:

“Since a dime is the smallest U.S. coin, the ability to “turn on it” is a figure of speech meaning you can change direction very quickly in a very small space. In this case, it means that life can change course very quickly. Depending on the circumstances, it can be either good or bad, but either way it will be rapid.“

To “turn on a dime” means turning sharply and/or suddenly. To say that “life can turn on a dime” means that a person’s life can change radically in an instant (or very quickly). It’s more often used to mean someone going from a “good place” to a not-so-good place, but it can also mean suddenly taking a turn for the better.

Turn on a dime is an English idiom meaning change dramatically, suddenly and without warning or coming out of the blue unexpectedly. It usually results from a single event that dramatically alters the course of events either as a negative or a positive.

Stephen King uses that quote quite a bit in his time travel book 11.22.63. It is almost like a theme throughout it. One thing can change history (as in the case of the book) in the blink of an eye. I guess another way of explaining it is that life can change just like that (imagine a finger snap here.)

I had totally prepared to work on my article for the next round of Turntable Talk today, but some things have been tossed into our path that has led to this one instead. I write this as a reminder to you and myself to take nothing for granted. I write this as a reminder to live each day to it’s fullest. I write this as a reminder that life is a fragile thing.

In the baseball game of life, we are thrown many curveballs. Some of those we see coming and some brush us off the plate. Some of those we get ahold of and can knock them out of the park, while many of them we swing at – and miss.

Enjoy every moment. Never miss an opportunity to say “I love you.” Life is too short to hold grudges. These are all things that I have said in one way, shape or form in previous blogs.

It has been hard for me to scroll Facebook lately. So many of my friends are hurting because of sickness, death, grief, or struggle. I pray for each of them daily. Sure, there are plenty of happy moments shared on social media, but in amongst those things are people I care about – hurting. Life turned on a dime for them. Factor in some other news that we’ve been made aware of over the past few weeks and we see life turning on a dime again, this time closer to home.

The storm is off the coast. It is clear as day on the radar. Heading toward us. We will watch it’s course and the skies. We will prepare the best we can. We will do our best to be ready for it. In the meantime, we will enjoy the moments and savor each one.