"The Sound of Christmas" The Living Strings (Pickwick/Camden, 1970)

You probably had a mom or a grandma with a BIG veneer console stereo and some record like this would plop down from the automatic record changer inside it.

Here it is, complete with the snap crackle and pops of vinyl you remember..... 

"Christmas In Japan" Paul Anka (1960)

Merry Christmas from The Brady Bunch (Paramount, 1970)

A Partridge Family Christmas Card (Bell Records, 1971)

"Stop The Cavalry" The Cory Band w/ The Gwalia Singers (1981)

Most of you have probably never heard this UK single before and technically, it's not even a Christmas song, but an anti-war song.

Yet if you live in the Seattle area, you definitely know it. It gets regular airplay on Seattle's Warm 106.9 radio during their annual holiday music format. For decades, it was a holiday season radio hit in the Puget Sound. An earworm that never seems to leave your brain once you hear it. It reached #3 on the British pop charts in December 1981. But there was never an American release of the song at that time. Either it wasn't considered or no American record label was interested in licensing the track for the U.S., thinking it wouldn't sell to American record buyers.

So how did this song get to be such a huge hit in Seattle and pretty much nowhere else outside of the UK?

Well first, we're weird here in Seattle. That said, there's a fascinating back story (here) to how this record was nearly lost forever and how it was finally saved.

The original label the record was on, Stiff Records, was a British independent specializing in "pub rock", new wave and punk (Nick Lowe, Elvis Costello, Madness, Lene Lovich, Tracey Ullmann and Ian Dury & The Blockheads were among Stiff's best known artists.) It became one of the most influential independent labels in the world in the early 1980s, ushering in the punk and new wave genres to the UK and the world.


This song however was clearly none of the above genres.

It was originally recorded by Jona Lewie (another Stiff artist), but it was The Cory Band's cover of the song that became the Seattle hit.

The Cory Band is a Welsh brass band and one of the longest continuous running bands in the world. They were founded in 1884 (The Rolling Stones have nothing on these guys) and are recognized as one of the world's most innovative and popular brass ensembles. 

However somewhere along the way from the song's initial release, Stiff had erased and reused the original studio master tape of The Cory Band's version of this song (being a low-budget independent record label, that is not uncommon.) So when a Seattle record producer heard the track and contacted Stiff in 1997 to license an American re-release of this extremely rare single because of overwhelming demand from Seattle area radio listeners, Stiff looked in their vaults. Then told the producer the awful news.

A makeshift workaround had to be arranged with a vinyl copy of the song. Luckily, there were a few mint copies remaining from the original pressing. The producer made a decent transfer suitable for the re-release and sold 13,000 copies of the reissue locally.

It still remains one of the perennial holiday favourites in Seattle. Enjoy.  

"Killing Me Softly With His Song" Lori Lieberman (1972)

This song may be best known as Roberta Flack's signature song, but this was the original version of it, released a year before Roberta Flack's version became one of the biggest hits of 1973.


Now there's two utterly different stories on the origins of this song.  

Lori Lieberman claimed she was inspired to write the song after watching a Don McLean concert. When he sang "Empty Chairs", she was so moved by his performance that the next day, she told her songwriting partners Norman Gimbel and Charles Fox, who then composed the song.

Gimbel and Fox however contended that the song was inspired by an Argentinian novel. Hopscotch by Julio Cortázar. In Chapter 2, the principal character describes himself as sitting in a bar listening to an American pianist friend 'kill us softly with some 'blues'. Gimbel put it in his 'idea' book for use for later with a parenthesis around the word 'blues' and substituted the word 'song' instead.   

However, the dispute was settled when a New York Daily News interview article from 1973 was unearthed with Gimbel admitting that Lieberman's story had indeed inspired the song.

The song was revived in 1996 by the hip-hop group The Fugees, reaching #2 that year and the Plain White T's recorded a version in 2008.

LSD: The Album

"Here Come The Judge" Pigmeat Markham (1968)

Whether or not this is the very first ever true rap song, a jury of hip-hop scholars will probably forever be out. But this is widely considered to be the earliest known prototype of the genre.

Dewey "Pigmeat" Markham (1904-1981) was a vaudeville comedian in the 1920s and '30s, later moving into acting and singing. He got the name "Pigmeat" from an early act of his, where he declared himself as "Sweet Poppa Pigmeat".

For decades, Markham's career was severely limited to only nightclubs and theatres that accepted black entertainers called the "Chitlin' Circuit", as Jim Crow racism and segregation was still dominant in every aspect of American life in those days. He was little known among white audiences until the 1960s when Pigmeat Markham released several comedy albums that crossed over. 

Sammy Davis Jr. performed the "Here Come The Judge" act on Rowan & Martin's Laugh-In. The success of Sammy Davis Jr.'s rendition of Markham's act later got Markham himself a deal to appear on Laugh-In for one season. The success of which spawned this single, which made it to #19 on the Billboard Top 40 charts in 1968.

Duz and Bonus Laundry Detergent

Once upon a time, you could buy a box of laundry detergent and get something really useful out of it besides a plastic scoop.

And during the 1950s and '60s, there was such a detergent. In fact, a few of them.

Duz and Bonus laundry detergents each offered a bonus goodie. Duz offered a free china plate, bowl, cups and later, glass tumblers in each box. Moms would then religiously buy Duz until their china set was complete.

They must have sold a lot of these dishes as today, they are still as ubiquitous as Herb Alpert records in any second hand store.

Bonus offered free bath towels.

It was like Cracker Jack for housewives.

Breeze was another line of detergent that offered premiums.

But tragically, Duz, Bonus and their many imitators stopped including extras in their products by the late 1960s. And without the goodies, these brands died off.

"Like A Rolling Stone" The Living Voices (1966)

The greatest version of this song. Ever.

"TV" The Judy's (1981)

A lost indie pop classic, "TV" was a song by The Judy's, Texas' (Pearland, specifically) most famous New Wave band.

This song got airplay on some wavy Seattle radio stations and this was where I first heard this song. But being on a local Houston area independent label, getting a copy of their album Washarama was nearly impossible since the label didn't have any national distribution. But The Judy's were unquestionably popular in the Lone Star state in the early 1980s. Their other hits included "Guyana Punch", "Her Wave", "Grass is Greener" and "Milk"

And "TV" is perhaps the only song to ever mention Allied TV Rentals, which was a famous national TV rental company, where you rented TVs by the week. A model that grew into today's rent-to-own businesses, such as Rent-A-Center, ColorTyme and Aaron's. Allied TV Rentals itself however went out of business nationally in 1987.

In spite of some worthy press and incredibly catchy singles, The Judy's never got the national fame and chart success they deserved. However, they still maintain a website where you can order their albums. 

  

"Dancing In The Dark" Bruce Springsteen (12" Extended Remix, 1984)

It seemed like a good idea.

But Bruce Springsteen's music (and this song in particular) is the type that utterly clashed with the general type of the R&B infected New Wavy dance music that was popular in the dance clubs in 1984 this version was made for. No matter how much drum machine and strange background singers you put in it.
  
That might be why Bruce Springsteen himself has never re-released this version of "Dancing In The Dark" on any of his compilations.

And let's face it, it's a horrible remix.

Rodney Allen Rippy

In 1973, Jack In The Box ran a TV commercial for it's Jumbo Jack burger featuring a cute little kid named Rodney Allen Rippy, who held the Jumbo Jack in his hands and said "It's too big to eat!". But being a little kid, it came out as "It's too big-a eat!". It became a national catch-phrase in 1973-1974.



 

This led to a 45 RPM single with Bell Records called "Take Life A Little Easier". At age five, he also became the youngest person ever to have a Billboard charting pop hit. A record that to this very day, remains unbroken.

So whatever happened to Rodney Allen Rippy?

Well according to his website, after his Jack In The Box commercial run, he starred in other commercials, including Nehi soda, Chevrolet and others. He graduated from California State University, Dominguez Hills in 1995.  He's taken on a few TV acting roles since his childhood stardom back in the early 1990s and appeared in the 2003 David Spade comedy Dickie Roberts: Former Child Star. He also hosted a Los Angeles radio talk show.

Contrary to many internet hoaxes and urban legends, Rodney Allen Rippy is still very much alive and well. He was badly injured in a bike crash in 2010, but he's fully recovered.

He's still active in the entertainment industry.

The Ethel Merman Disco Album (A&M, 1979)

There are some records you just can't make up even if you tried.

Whoever thought combining an aging Broadway singer like a then 71 year old Ethel Merman, who's star had largely faded by this time and disco music would be a smashing crossover success probably has been court-ordered to stay away from recording studios for life.

Her last big hit up until then was 20 years earlier and she was mostly doing variety and talk show TV appearances by the late '70s.

12" inch Ethel Merman single from the album.

The vocals are definitely vintage Ethel Merman. But the disco arrangements and instrumentation are by-numbers and nowhere do Merman's vocals and the disco interpretation of the music gel in any way. At all. Donna Summer's crown as Queen of Disco was secure.

But not for long, as the disco backlash was well underway at the time of this album's release. And to the cut-out budget bins this record went.

Ethel Merman died on February 15, 1984.

"Please Don't Ask Me To Go Away/With Every Beat of My Heart" Shawn (1971)

It's like this; You remember an old record and you finally drop everything and go on a mission.

The record in question came to our family in a box of 45s my uncle gave my mom. He worked for an amusement company which serviced jukeboxes. Every now and then, he'd bring us a box of random 45s. There were a few well worn hits ("Ode To Billie Joe" Bobbie Gentry, "I Love You" by People) and a few lesser Jeannie C. Riley and Otis Redding songs. But one 45 in particular stuck out.

It was a single released on Kapp Records in September of 1971 at the peak of the Donny Osmond craze shortly after he struck teenybopper gold with his cover version of Steve Lawrence's "Go Away Little Girl".

The artist was someone (or some group) named Shawn. Who this monosyllabic Shawn was is completely unknown as far as verifiability goes. I simply hit dead ends everywhere I go trying to track down any deeper session information.

The A-Side was an answer song to "Go Away Little Girl", titled "Please Don't Ask Me To Go Away"

The B-Side was also a cover version. "With Every Beat of My Heart", which was probably better known as a 1970 song from Josie & The Pussycats.

Both of the Shawn songs had some popularity, the novelty A-side of course. But Shawn's B-side cover of "With Every Beat of My Heart" appeared on the 1995 Varese Sarabande compilation CD Bubblegum Classics Volume Two.

The A-Side, "Please Don't Ask Me To Go Away", remains available only on the original Kapp 45.

From the number of these Shawn singles with holes drilled in the label area, which is nearly every copy I have ever seen, it didn't do very well in sales as most "answer songs" tend not to. Drilling holes in the 45 RPM label area or cutting a corner of an album was a practice amongst record labels with returned stock of records that didn't sell initially to prevent retailers from reselling them at full price. These records were what occupied the "cut-out" or "budget bins" for $2.98 or lower in record shops.

But a look at the credits on the single reveals two important clues; Producer Danny Janssen and arranger Jimmie Haskell. Janssen had produced the original Josie & The Pussycats album and was the producer of several early '70s TV based pop acts including The Partridge Family and The Brady Bunch LPs. Jimmie Haskell was a pop arranger, best known for his TV work as well as with '60s pop band The Grass Roots. He also arranged horns and strings on Blondie's Autoamerican album.


It was pretty much a one-off novelty single to cash in a pop fad as "Go Away Little Girl" was one of the biggest hits of 1971.

Shawn never had a follow-up single or released a full album. And was never heard from again.

Before They Were Stars: Billy Joel

In 1970, just three years before his solo commercial breakthrough with Piano Man, Billy Joel released a psychedelic hard rock album on Epic Records with partner Jon Smalls under the name Attila.

With Joel on Hammond organ and Smalls on drums (there were no guitarists or bassists on this album) and everything cranked to 12, nothing could possibly go wrong.

Besides everything.

 

Attila was not only a massive flop, going nowhere on the charts. Billy Joel himself hated the record, calling it "psychedelic bullshit". AllMusic even called it the "worst record ever made".

Accolades like that make this an automatic classic here at History's Dumpster.

Alas, we would never see a follow up to Attila, Billy Joel ran off with Jon Smalls' wife, whom he later married (which usually puts a wrinkle in things, creatively.) But the two later made up and Smalls produced two of Joel's later concert albums.