Tisch Bumbass

"Yes, you read right! This is the world-famous "Tisch-Bumbass". a real cool one man jazz band that requires absolutely no talent to play ---- just nerve....Beautifully hand-carved in Germany and made of the finest materials, your 'Tisch-Bum-bass' will survive the wildest parties." - Escapade Magazine, August 1962.

The wildest parties. (You know? The ones with pretzels?)

This was Escapade Magazine, August 1962. I was born in 1968. So my takeaway from reading this was teasers like her in 1962 were hopelessly drawn to guys who can play the pie pan. tambourine, bicycle horn, cedar block, and cowbell simultaneously. It must've been a magical time. Like hair metal. Until the Beatles showed up....

A tisch (or "table") bumbass (also known as a Stumpf Fiddle or Devil's Stick) is a smaller version of a Medieval European headache-on-a-stick. It's essentially How Many Noisemakers Can You Put On One Thing? You might have seen it at carnivals and circuses (or wherever clog dancing is allowed.)

"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.

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

The greatest version of this song. Ever.

"Up With People" Up With People (1965)

When I was a kid, I hated this record. Like smash this record to atoms, melt it into an unrecognizable blob, jump on it, toss it into a woodchipper, melt it back down into another blob, toss it into a lead barrel, seal it with concrete and launch it into deep space hate this record.

Up With People is a musical troupe that goes around the country (and even the world) trying to bridge cultural differences and create global understanding through public service. And musicals. They released several albums (all including this song) from the 1960s to the 1980s. Actress Glenn Close was a member in the '60s

Good intentions and wholesomeness aside, UWP became infamous for four years as being the selected Super Bowl halftime act from 1976 to 1986. They were lambasted as utterly the worst Super Bowl halftime act ever and, well, here. Take a look.




UWP's incredibly choreographed and cheerful singing and dancing acts were remarkable visually. No sleazy "wardrobe malfunctions", hard rock music, hip-hop or anything remotely disturbing to heartland American sensibilities. They were as threatening as milk and cookies. 

But in spite of it as time wore on, Up With People's brand of entertainment had become increasingly stale and dated. Halftime became the time you made a run to the 7-Eleven for more beer, chips and ranch dip. It wasn't until 1987 when they were permanently dropped from the halftime act roster and were replaced by hipper, edgier pop acts and commercials you just have to see.


They returned as the pre-game act in 1991, but that would be their last Super Bowl appearance.

While some people may look at Up With People as some pseudo-hippie musical act about peace, love and understanding, I look at them as just one big, if somewhat creepily happy glee club.

However, They've received corporate funding, including from Halliburton (cue Jaws theme), General Motors, Exxon, Searle Pharmaceuticals - major progressive no-nos. Leading to criticism that they are more closely linked to right wing politics than they let on. They've also received praise from John Wayne, Pat Boone and Presidents Nixon, Reagan and George H.W. Bush, not exactly the most liberal statesmen.

In 2009, a documentary was made on Up With People called Smile 'Til it Hurts: The Up With People Story.


Up With People are now in their 50th year. Not doing Super Bowl halftime shows, but still very much active.

Before They Were Stars: Carly Simon

You know Carly Simon as a legendary singer/songwriter of the '70s. But not many people outside of her most devoted fans know her recording career began several years before her signing with Elektra and her massive pop hits like "You're So Vain", "Anticipation" and "That's The Way I Always Heard It Should Be". A streak what would continue well into the 1980s

The Simon Sisters were Carly Simon and her lesser known sister Lucy. They were regulars in the New England folk circuit in the early 1960s and caught the attention of Kapp Records, then one of the larger independent labels in the US.

Meet The Simon Sisters (later retitled Winkin' Blinkin' and Nod after the first single from the LP which became a minor hit.) (Kapp, 1964)

Listen Here.

This LP was followed up later that year with Cuddlebug.

Listen Here

This would be the last Simon Sisters LP until 1969. But the folk scene of that time was beginning to change with more challenging, socially conscious lyrics and Kapp Records had been sold to MCA. They returned in 1969 with an LP for Columbia; The Simon Sisters Sing The Lobster Quadrille and Other Songs for Children.

But the sisters brand of traditional and kid friendly folk was being overshadowed by harder edge acts. Their 1969 Columbia LP was reissued in 1973 as Carly & Lucy Simon Sing Songs for Children shortly after Carly Simon had her breakthrough hit "You're So Vain". (it was retitled to avoid confusion with Simon's pop albums.)

These LPs would remain without a reissue for over three decades until 2006 when the Kapp LPs were reissued for the first time on a single CD. Followed in 2008 by the reissue of Carly & Lucy Simon Sing Songs for Children.

"Sure The Boy Was Green" Horslips (1977)

Happy St. Patrick's Day!,

Today, I thought I'd dig up something from an Irish rock band just about most rock fans in the US have never heard of. But in the pantheon of '70s Irish rock, if Thin Lizzy was on top, then Horslips were in a sound second place.

Horslips (yeah, weird name I know. According to Wikipedia, the name originated from a spoonerism on The Four Horsemen of the Apocalypse which became "The Four Poxmen of The Horslypse"), while huge in Ireland, were criminally overlooked in America. They only had one LP released in the US in 1977 called Aliens. 

Aliens came right on the heels of Thin Lizzy's 1976 album Jailbreak album, which went multi-platinum (I'm sensing somebody thought with the Thin Lizzy craze that Irish rock was The Next Big Thing) and while Aliens was Horslips most accessible album commercially, it was largely unheard of in the US. "Sure The Boy Was Green" was the only single from it.

Horslips disbanded in 1980.

John Denver's Rocky Mountain Christmas TV Special (1975)

Complete with original 1975 TV commercials!

Yes kids, TV really did look like this in 1975.

And who knew John Denver invented the Bio-Dome?

Bernie Sanders' Lost Folk Album

You know Bernie Sanders as America's Senator, the lovable underdog determined to take on the Koch brothers, corporate greed mongers and corrupt government policy.

But did you know he has a musical side?

Bernie released this cassette album in 1987, Side One is a mix of traditional folk covers, Side Two is a recorded conversation with Bernie.

Enjoy.

More details + Audio here

"Emily's Illness" Nora Guthrie (Mercury, 1967)

Listen

It's needless to say a song with "illness" in the title probably doesn't get much pop radio airplay. And "Emily's Illness" certainly didn't. Certainly not in The Summer of Love, when musically you had West Coast acid-rock, Brit-pop and Motown ruling the charts. But this song was far ahead of it's time.

Nora Guthrie is the daughter of Woody Guthrie (and the sister of Arlo, singer of the perennial Thanksgiving Day classic "Alice's Restaurant Massacree".) She was 17 years old when she recorded this. There's an incredible back story to this song however.

And when you read the lyrics (written by her then boyfriend, Eric Eisner) you might even realize it could be the very first prototype "Goth" record. Granted, they didn't invent the genre, but this song probably opened the door to it.

Because there weren't any pop songs that lyrically dealt directly with the process of someone dying (of leukemia, I'm guessing) until "Emily's Illness". Death itself was still a pretty taboo topic in American pop music in 1967 and very few acts even indirectly mentioned it. To say nothing of the word "blood", which outside of "Young Blood" The Coasters and a mention in "Eve of Destruction" Barry McGuire, was hardly used is any non-religious pop song until 1967.

Nora Guthrie today is the curator of her father's musical legacy, overseeing various recording projects, re-releases and historical recordings, including a very early live Woody Guthrie album  called The Live Wire, which was recorded on magnetic wire.

 

Before They Were Stars: Laura Branigan

If there was one name that summed up Adult Contemporary music in the 1980s, it would be Laura Branigan. Her songs were staples on AC radio, guaranteed to pop up at any given time anywhere around the radio dial in those days.

If all you had was a radio for entertainment in your car or wherever, there was just simply no escape; You were going to hear at least a snippet of a Laura Branigan song somewhere at any time as you were tuning around the radio dial. That's how big of a radio-friendly pop star she was back then. 

From 1982 to 1985, she racked up several hit singles. In fact, many of her poppier songs, such as "Gloria" and "Self Control" were actually Americanized renditions of European pop hits with often completely rewritten English lyrics. ("Gloria" was originally recorded in 1979 by Umberto Tozzi and "Self Control" was originally recorded by Raf earlier in 1984.)

She even made a rendition of Falco's "Der Kommissar" (1982), called "Deep In The Dark" (1983). "Der Kommissar" was also most famously covered by the British act After The Fire (1983) and to a much lesser extent, Suzy Andrews (1982)

Laura Branigan's string of major hits dropped off after 1986, but she still remained active through the '90s, including occasional forays into acting until her untimely death in 2004. Those earlier hits of hers were still played on the radio ad nauseum for the rest of the 1980s and well into the '90s.

But long before this string of hits, Laura Branigan in the early '70s was an aspiring singer, still in her teens. And as an aspiring singer, you took whatever gig you could get. Especially if that gig also came with a recording contract with a fairly major label. As in the case of Meadow.

Meadow was a fairly unknown folk act in a sea of many such acts of that time who recorded a sort of religious psychedelic folk concept album called The Friend Ship.

The Friend Ship was released in 1973, as the spiritually based psychedelic rock concept album era was in full swing. Jesus Christ Superstar and Godspell were huge hits in the early 1970s. And oddly enough, even The Osmonds got into the act with their Mormon based 1973 offering The Plan.)  

The track listing on the back of the LP gave you a hint of that you were getting into.

A few singles were released, but The Friend Ship never got anywhere.

"Here I Am" Meadow

"See How They Run"

"The Lawless Lady"

"Sweet Life"

However this wouldn't be Paramount Records (which was eventually absorbed into MCA Records) only flirtation with a later mega-star act of the 1980s. They also released a 1972 album from another folk-pop act called Milkwood, which featured Ric Ocasek and Benjamin Orr of The Cars.

However unlike most early recordings of then unknown artists that are later re-released by record companies to capitalize on the artist's later success, Meadow's The Friend Ship never had a reissue and Branigan herself was known for being tight-lipped about the experience.


Probably for the better, as The Friend Ship's pseudo-religious psychedelic folk-pop was fairly dated by the time Branigan had established herself as a major pop star. It would have been extremely difficult for her fans and the general public to reconcile her then-current image with the one that was on The Friend Ship. Even though there were far worse beginnings for many major pop acts.

However in spite of the music, this LP (as Milkwood's) remains a prized collector's item for it's rarity alone.

"I Was Only 19" The Herd feat. Redgum (2005)

In 1983, there was a major hit record in Australia nobody in America has ever heard at that time.

But one they should have. Sadly, it didn't get any American radio airplay or distribution.

The song was called "I Was Only 19 (A Walk In The Light Green)" by Redgum, an Australian folk group that described the Australian experience in the Vietnam War and it's aftermath in a way any American veteran of that war could easily relate.

The early '80s seemed to be filled with songs about the Vietnam War. From "Still In Saigon" The Charlie Daniels Band, "Goodnight Saigon" Billy Joel, the ubiquitous "Born In The USA" Bruce Springsteen (among many he wrote.) The Clash also recorded several songs about the Vietnam War. And of course, there was the just plain dopey "19" Paul Hardcastle.

Time warp to 2005.

Australian hip-hop group The Herd (no relation to Peter Frampton's late '60s band, of course) remakes "I Was Only 19". Their version included John Schumann, Redgum's lead vocalist in the song's bridge and, most surprisingly, in the song's final rap. He is also highlighted in the song's video.


The Herd's remake became another major hit in Australia. Their version went to #18 on Triple J Radio's Hottest 100 countdown of 2005 and got regular airplay on the network.

"Tiptoe Through The Tulips" New Christy Minstrels (1962)

This um, strange version of this song was recorded six years before Tiny Tim made this version famous. With vocals by Barry "Eve Of Destruction" McGuire. By 1963, The New Christy Minstrels would have their biggest hit "Green, Green".

In the summer of 1964, they hosted a half-hour variety show on NBC that lasted 5 weeks.

However by the mid-1960s, as folk music became electrified with more challenging lyrics, the Christy's brand of squeaky clean, sing-along folk was becoming embarrassingly square and they declined in popularity. However they remain active under their own non-profit, The New Christy Minstrels Foundation.

Other famous members of The New Christy Minstrels at one time or another included Kenny Rogers, Kim Carnes ("Bette Davis Eyes"), actress Karen Black, Gene Clark of The Byrds and Larry Ramos, who would later sing co-lead on "Windy" and "Never My Love" by The Association.
 

"After The Gold Rush" Prelude (1974)

Somehow, I've always liked this version better than Neil Young's original.