Don’t hire this guy.
“Marriage is For Old Folks” by Nina Simone
“I’m Not the Marrying Kind” by Elvis Presley
“Separate Ways” by Elvis Presley
“When Did I Stop Loving You, When Did You Stop Loving Me?” by Marvin Gaye
You are currently browsing the archive for the Playlists category.
That’s the theme from Welcome Back Kotter, written by John Sebastian for the middle-70s television series. While with the Lovin’ Spoonful Sebastian had written seven top 10 hits, this TV theme was his only successful single as a solo artist.
Welcome Back Kotter was one of the first sitcoms to present a lighter version of the Norman Lear format established with All in the Family, and it ran successfully for four seasons on ABC. The show centers around Gabe Kotter, a teacher played by comedian Gabe Kaplan, who returns to his alma mater, James Buchanan High School in Brooklyn, to teach a group of outcasts known as the Sweathogs (because they have the hottest room in the building). While Kaplan was the star, the series is best remembered for having launched the career of John Travolta, who you might remember from such films as The Boy in the Plastic Bubble and Phenomenon.
Folks often have a laugh at the John Travolta’s tidily quaffed hair on LP jackets in the shop, assuming his musical career started with Saturday Night Fever or Grease — but in fact his first hit, “Let Her In,” was released when he was still starring on Welcome Back Kotter. His first ever appearance on an album was even earlier than that — he had a role in the 1974 Sherman Brothers musical Over Here! which also featured two of the Andrews Sisters.
Comedian Gabe Kaplan’s 1974 LP, Holes and Mello Roles, was the inspiration for the television series. It was first released by ABC Records with an image of popsicles crashing into the moon on the jacket. After the success of the series, the album was reissued with an image featuring Kaplan with the Sweathogs.
“Holes and Mello Rolls”
The Sweathogs made an goofy appearance on this 1976 TV-marketed oldies compilation, Fonzie’s Favorites. The back of the album (which includes a die-cut stand so you can put the Fonz on your piano next to the kids’ school pictures) promises “the Fonz has not taken to singing on this album. Better!! He has chosen his favorite 50s records to share with you.”
“The Fonzarelli Slide”
One side of this collection of familiar favorites by the likes of the Coasters, the Elegants and the Five Satins ends with a couple novelty songs — notably “The Fonzarelli Slide,” which inexplicably has the cast of Welcome Back Kotter meeting the Fonz, who would of course be older than Kotter by the middle seventies.
This wasn’t the only connection between the two hit sitcoms — when Pat Morita, who played Arnold, left Happy Days it was to star in a short-lived Welcome Back Kotter spin-off, Mr. T and Tina (which was, incidentally, the first sitcom to feature an Asian American as the lead). Sitcom spin-offs were all the rage and Happy Days itself produced six of them. Arnold’s replacement, Al, later married the mother of Fonzie’s cousin Chachi, who was played by Ellen Travolta, sister of actor John Travolta. Still with us? She first played Arnold Horshack’s mother on Welcome Back Kotter. And this concludes the least interesting paragraph ever posted on the Hymie’s blog.
Travolta’s albums were the most successful, but he was not the only of Kotter’s Sweathogs to make a record. Lawrence Hilton-Jacobs, who played Freddie “Boom Boom” Washington not only sang back-up on Rick James’ Street Songs but made two albums of his own in the late 70s. A 1981 Halo single produced by Hilton-Jacobs is one of the rarest modern soul/boogie records you’ll never find (and is a pretty good party jam), selling for more than $1500 on any rare occasion when it appears online.
Hilton-Jacobs turned in a well-received performance as Joe Jackson in the 1992 TV movie based on Katherine Jackson’s autobiography, The Jacksons: An American Dream. He had a recurring role as a hard-nosed detective on the series based on Alien Nation, and has many screenwriting credits as well.
None of the remaining Sweathogs made records, although Ron Pallilo, who played Arnold Horshack, once portrayed Wolfgang Amadeus Mozart off Broadway.
“If It Takes All Winter”
A couple years ago Caitlin introduced us to another songwriter from up north named Barbara Jean, and we absolutely loved her debut disc, The Great Escape. There was a lot of Minnesota flavor to that album, including in this snowy tune.
Barbara Jean has a new album out next week called Darker Than Blue, which features collaborations with an impressive list of favorite Minnesota musicians. It was produced by Erik Koskinen at his RealPhonic Studio — his solo album, American Theater, is one of our favorite records of 2014 (we first posted it here). From what we can hear in the promotional video below, we expect we’re going to enjoy Darker Than Blue as much as we have her first album.
The release show is a week from this Saturday at the Icehouse. Details can be found here.
“Even Trolls Love Rock and Roll” by Tony Joe White
Come by the record shop this week for a copy of our first ever Halloween mix CD. Twenty-five spooky tracks featuring trolls, skeletons, witches, ghosts and zombies — interspersed throughout are clips from our kids records featuring even more monsters, ghouls and other creatures of the night!
Free with purchase while they last!
Today Laura is going to compete in a triathlon for the fifth time, and everyone’s really proud of her. We don’t want to embarrass Laura so that’s all we’re going to say about it. The rest of this post will be in the form of super songs:
“The Swimming Song” by Loudon Wainwright III
“Bike Cop” by the Taxpayers
“It Keeps You Running” by the Doobie Brothers
That was too much fun! How about a victory lap for Laura?
“Swimming” by Breathe Owl Breathe
The 7-Up guy we posted on National Bike to Work Day
“Running, Jumping, Standing Still” by Spider John Koerner and Willie Murphy
Peter Buck’s brief liner notes to REM’s album Dead Letter Office are better anything else you could find in decades of mainstream rock journalism. The scale of Buck’s record collection is famous and he is a well-known supporter of independent shops. We couldn’t get a good shot of the liner notes so we have added the test here:
I’ve always liked singles much more than albums. A single has to be short, concise and catchy, all values that seem to go out the window as far as albums are concerned. But the thing that I like best about singles is their ultimate shoddiness. No matter how lavish that packaging, no matter what attention to detail, a ’45 is still essentially a piece of crap usually purchased by teenagers. This is why musicians feel free to put just about anything on the b-side; nobody will listen to it anyway, so why not have some fun. You can clear the closed of failed experiments, badly written songs, drunken jokes, and occasionally, a worthwhile song that doesn’t fit the feel of an album.
In spite of Buck’s self-depreciation and the reasonable assumption that it was released for reasons related to the group’s transition from IRS records to Warner Brothers, Dead Letter Office has achieved a lofty status. REM fans love it for the very reasons described in Buck’s liner notes – Here is a variety of “failed songs” and “worthwhile songs” that offer a unique perspective of the group. The first track below is “Ages of You” from Dead Letter Office. The second is “Bandwagon”.
A lot of sixties records are nothing more than a clumsy, poorly sequenced selection of singles, as Beatles fans know. The compilation of B-Sides is unique in that it contains previously released material. This warning is prominent on one of the earliest such records, Elvis Costello’s Taking Liberties.
Like Dead Letter Office, the Elvis Costello collection covers a short period and includes a handful of new tracks not issued on singles at all. Each is essential to fans but probably only vaguely interesting to the casual listener. Here are a couple favorites from Taking Liberties – Costello’s earliest country music effort, “Radio Sweetheart” and an alternate version of “Black and White World” from the Get Happy!!! album:
Taking Liberties may be the earliest such album, but we can’t say for sure (Hymie’s regulars: Surly one of you knows who made the first collection of B-Sides – Let us know). The Clash put out Black Market Clash the same year (It was a 9 track, 10″ album as opposed to Costello’s 20 track epic). The Clash record is possibly the earliest recording to set a certain standard for B-Side compilations which stood for decades. Look at the tracklisting: It contains all the essential types of B-Sides. There’s the under-appreciated track that never fit on an LP (“City of the Dead”), the cover songs (“Pressure Drop” and “Time is Tight”) and the band-jammin’ instrumental (Again, “Time is Tight”). Black Market Clash also has a couple of good extended mixes of album tracks. Included here is “Justice Tonight / Kick it Out” and “Time is Tight”:
The formula becomes pretty well established, although other groups do some aspects of it better. REM’s Dead Letter Office contains six covers, including three Velvet Underground songs and a rockin’ “Toys in the Attic”. Taking Liberties also includes several covers but from more varied sources (the best being Betty Everett’s “Getting Mighty Crowded”). The best singles collection of the 90s – J Church’s Camels, Spilled Corona and the Sound of Mariachi Bands, has a great cover of REM’s “(Don’t Go Back To) Rockville” which suggests a certain sort of continuity to it all.
Camels, Spilled Corona and the Sound of Mariachi Bands is actually a singles collection which compiles both A- and B-Sides. Unlike nearly every other collection of singles, B-Sides, EPs or compilation tracks, the tracks are well sequenced so as to feel like an album. Its such a great album we have been forced into an exemption from our personal ban on picture discs (Making this the only one in our collection). J Church was notorious for frequently releasing singles and EPs that quickly disappeared, making their second singles collection, Nostalgic for Nothing, also a keeper.
“Bomb/Sacrifice”, heard below, was the first side of the first J Church single, and probably a lot less crazy in the pre-9/11 era. We love these songs and never really thought about the lyrics, let alone the extent to which Lance Hahn is out of key.
A lot of mid-90s independent groups put together great collections like this. Superchunk’s first release on their own Merge Records was a singles collection called Tossing Seeds, but it was their second singles collection, Incidental Music, that really rocked. It has all the essential features of a B-Sides compilation: Cover songs (“I’ll be your Sister” by Motorhead!), alternate versions (An acoustic “Throwing Things”, heard below) and totally underrated gems that deserved wider release (“Home at Dawn” which originally came out on a flexi-disc. A flexi-disc!).
Morphine’s B-Sides and Otherwise is actually some of their best stuff, but doesn’t include a cover song. What kind of B-Sides compilation doesn’t have a cover song by your favorite band’s favorite band? Lambchop’s Tools in the Dryer has a great cover of “Love TKO” and some bizarre remixes. Tools in the Dryer also gives us a couple tracks from their early demo tapes as the Poster Children – What a deal!
One more artist deserves mention, and then I think we’ve looked at B-Side compilations for far, far too long, and that’s Bruce Springsteen. His 1998 collection Tracks compiles four discs of studio outtakes and demos – Including the albums worth of good material the Boss has dropped on the backside going back as far as “Hungry Heart” (Which carried the rapid-fire “Held Up Without a Gun” as its flip).
Born in the USA alone produced nearly an album worth of great B-Sides, including the classic “Pink Cadillac”, the long-shelved River outtake “Roulette” and this track originally written for Nebraska. Here’s Springsteen singing “Shut Out the Light”.