The Last Repair Shop | 2024 Oscar Winning Documentary Short

Video of the Week: The Comedy of Dumb Song Lyrics

Ten Great Proclaimers Songs that Aren’t ‘I’m Gonna Be (500 Miles)’

Just today a little uninvited ad popped up on my Facebook page asking if I liked the Proclaimers’ ‘I’m Gonna Be (500 Miles)’ and directing me to check out their newest album. Ironic since I was already planning to write this post complaining about how the Scottish sibling duo are too often summed up by their one-and-only American pop singles chart entry.

Thanks to its inclusion in the 1993 Johnny Depp film Benny & Joon, ‘I’m Gonna Be (500 Miles)’ was a #3 hit a full five years after its original release on the Proclaimers’ Sunshine On Leith album. And given our perception of one-hit wonders and the fact that there are plenty of respected acts (Tom Waits, Phish, The Ramones, Indigo Girls, Bob Marley) who have never had a top 40 single, I can’t help but wonder if that fluke hit actually has had a negative net effect on the Proclaimers’ legacy.

One-hit wonders are a joke. No-hit wonders are too cool to have hits. Right?

At any rate, the fact that Craig and Charlie Reid play coffeehouse-size venues in this country belies their status as a popular worldwide touring attraction. Their songs have been sung by stadia full of soccer fans and had stage musicals written around them (a la ABBA’s Mamma Mia!) in countries where they’d be baffled to see ‘I’m Gonna Be…’ featuring in lists with names like 100 Greatest One Hit Wonders.

Here are ten proclamations of the songwriting prowess of the Reid brothers:

_________________________

1. “Letter From America”

The Proclaimers’ first album, 1987’s This is the Story, has similarities to another promising artist’s debut, that being Elvis Costello’s My Aim is True.

Though brimming with great songwriting, both albums featured a primitive sound that would be abandoned by the release of the respective artists’ sophomore LPs. Costello’s ragged throwback sound (provided by backing band Clover, later known as Huey Lewis & the News) pegged him as a punk Buddy Holly; a year later, with the legendary Attractions in place, Elvis began forging a legacy that terms like “punk” and “new wave” couldn’t encapsulate.

The Proclaimers’ first record presents them in a stripped-down (in this case acoustic) setting with an almost folk-punk feel. But tacked on at the end, in a full-band arrangement that presaged their sound on subsequent albums, was their first classic anthem, “Letter From America”.

This song deserves the status that “I’m Gonna Be…” enjoys as the Proclaimers’ calling card. It’s a heartbreaking elegy to Scotland’s emigration drain due to economic depression:

I wonder my blood/Will you ever return/To help us kick the life back/To a dying mutual friend?/Do we not love her?/Do we not say we love her?/Do we have to roam the world to prove how much it hurts?

Interestingly, the 12′ vinyl pressing interwove the full band and acoustic versions of the song on the same side of the record in such a way that the needle would play one or the other version randomly when the needle hit the grooves. The song was a #3 UK hit.

2. “Cap in Hand”

From their second and finest album, 1988’s Sunshine on Leith, somehow an overlooked classic despite the fact that it contained “I’m Gonna Be (500 Miles)”. The brothers and their backing band talk about the special feeling they all had recording the album, and the great melodies that were flowing from the brothers’ collective pen.

In a brilliant piece of writing, “Cap in Hand” mixes cheek with pointed political commentary:

I can understand why Stranraer lie so lowly/They could save a lot of points by signing Hibs’ goalie/But I can’t understand why we let someone else rule our land/We’re cap in hand

3. “Then I Met You”

A hopeful ode to new love’s ability to overcome hardened cynicism. Also from Sunshine on Leith.

This one’s a burner live.

4. “Sean”

The Leith album was littered with songs which stirred the best kind of nationalistic feelings. Not the defiant, ready-to-take-up-guns type. But the kind that make you want to sing loudly and celebrate the beauty of family, nation and heritage.

Though fear and hurt and care can lead me to despair/I saw why I’m here the morning you appeared

Sean, I sat awhile on clouds to ask God if He’s living/I should have spent the time on knees in thanks for what He’s given

From parents smart and strong to both of us passed on/From kings is where you come, through daughters and through sons

5. “Sunshine on Leith”

Speaking of songs you want to sing loudly, the album’s title track–a beautiful serenade to the port district near Edinburgh–has been adopted by the Hibernian Football Club, whose fans belt it at all their matches.

While I’m worth
My room on this Earth

I will be with you
While the Chief
Puts sunshine on Leith

I’ll thank Him
For His work
And your birth
And my birth

The first video below shows the cheer that goes up when the song begins, and the team’s celebration of the CIC Cup victory as the fans serenade them. The second (which begins the same–just a heads up) adds a layer of poignancy with the story of the coach losing his father. The videos truly capture a moment when life and music intersect in a powerful way.

6. “I’m on my Way”

Yet another track from the Leith album (and it wasn’t easy to narrow it to five). This one will be familiar to anyone who saw the movie Shrek.

7. “Shout Shout”

After a six-year drought due to writer’s block, the twins returned with their attention having turned somewhat from the political/cultural focus of Sunshine on Leith to more domestic matters. Significantly, the album delivered no big follow-up single to “I’m Gonna Be…”, cementing their one-hit status in the States.

8. “Should Have Been Loved”

After a pair of so-so albums and a ‘best of’ collection, the brothers returned to form in 2003 with Born Innocent, their strongest record since Sunshine on Leith. The effortless songcraft and catchy melodies were abundant on this, their most underrated record.

9. “He’s Just Like Me”

Also from Born Innocent. Illustrative of the honest, poignant lyric style that sets them apart as writers.

10. “Now and Then”

This song, written in memory of the Reid brothers’ lost father, will be a dose of strong stuff for anyone who’s experienced a similar loss. Sad, beautiful and reassuring all at once.

Bonus Track: “Hate My Love”

I first wrote this post in April 2013. Due to some degradation of the attached files it was necessary to re-post it with the music files restored.

Since I always regretted that the snarling “Hate My Love” (another track from the superb Born Innocent LP) didn’t fit among the ten songs that were part of that post, I cheated this time and included it as a bonus track.

There. Now I feel better.

See also:

Ten Great Hollies Songs That Never Hit the U.S. Top 40

Ten Great Asia Songs That Never Hit the U.S. Top 40

Ten Great Irish Rovers Songs that Aren’t ‘The Unicorn’

Ten Great Weezer Songs That Aren’t from the ‘Blue Album

Oscar Winning Short Film: Curfew

We’re delighted to share 2012 Oscar winner and possibly this writer’s favorite short film, Curfew:

Radio Garden Offers a Fun Way to Explore Stations of the World

(via digitaltrends) by Trevor Mogg

Imagine looking at Google Earth and seeing thousands of tiny green dots all over the map, with each one representing a playable radio station. That’s pretty much Radio Garden, a mobile and web app offering a fun way to enjoy live radio from around the world…

Read more: Radio Garden Offers Fun Way to Explore Stations of the World | Digital Trends

Radio Garden – Search

Unpopular Opinion: 80’s Homogeneity Killed the Radio Star

heart 2

There are multiple reasons why the 80’s were my least favorite decade for pop music. I grew up mostly on organic and not sampled sounds. Warm, carefully crafted arrangements rather than sterile synths. Heartfelt vocal performances that gave you the feels rather than the flat and robotic delivery typical of New Wave.

Most of all I like diversity in music. And the 80’s seemed to swallow diversity and spit it out all one color and one flavor–that is, no flavor.

The 70’s were a decade when Carly Simon, Led Zeppelin, the Average White Band and Tom Jones could play consecutively on the radio.

The 80’s, conversely, were the decade when drum sounds, keyboard sounds, vocal performances and even (thanks in part to MTV) fashion and hairdos became more regimented. It’s like all the sudden there was a uniform you had to wear to qualify for the top 40.

Take a listen to this sample of three of the decade’s more ubiquitous hits–by Heart, Cher and Starship respectively:

 

And now a bit of a medley of some of the diverse sounds created by the same artists in the decades prior:

 

The first clip illustrates the sound of 80’s pop radio, typified by its uniformity of style and arrangement.

The second is all over the place musically, from riff-driven rock to folk pop to orchestrated adult contemporary to fusion to psychedelia. And yet it’s the same three artists.

The second clip is culled from the years when these artists each forged an identity. And the first is from the decade when they apparently had to forego that identity to stay on the radio.

How many of the 70’s greatest artists became hollowed-out versions of themselves creatively in the decade of the 80’s?

Chicago, Aerosmith, Heart, Jefferson Starship, ZZ Top, Kansas, Neil Diamond, Rod Stewart, and on and on.

I’m not saying these artists didn’t sell loads of records in the 80’s. But I will say their 80’s output a) typically lacked the imagination and diversity of their earlier work, b) was more often written by outside writers than the work that made them famous and c) kind of sucked.

As a teenager Steven Tyler wrote:

Every time when I look in the mirror
All these lines on my face getting clearer
The past is gone
It went by, like dusk to dawn…

Sing with me, sing for the years
Sing for the laughter, sing for the tears
Sing with me, just for today
Maybe tomorrow, the good Lord will take you away

As a 40-year-old he wrote:

Love in an elevator
Livin’ it up when I’m goin’ down
Love in an elevator
Lovin’ it up ’til I hit the ground

And as for Chicago’s steady decline into Easy Listening post-Terry Kath well…Look Away indeed.

As for 80’s pop radio’s slavish devotion to the new, processed, synthy sound, I think it precipitated interesting shifts in radio formats. Plenty of artists who had success on pop radio in the 70’s had to redefine themselves as Country artists in the 80’s.

Exile (“Kiss You All Over”), The Bellamy Brothers (“Let Your Love Flow”), Michael Murphy (“Wildfire”), Michael Johnson (“Bluer than Blue”) and others made music too distinctly traditional-sounding and too organic for New Wave-dominated 80’s radio. After tweaking their sound and their songwriting just a bit they were welcomed by country radio, which experienced a shift toward a more pop-friendly crossover sound in the same decade.

Songs in the Key of Amy

(via Purple Clover) by Jess Tardy

The casting call found its way to me by email, a strange, urgent request from a booking agent who’d previously altogether ignored me. A beautiful young woman was planning her memorial service, he wrote. She was just weeks, if not days, from her death, and she wished for the story of her life to be told through a series of her favorite songs, and for those songs to be sung by an Eva Cassidy-ish singer.

I’d recently returned to Boston from a doomed stint in Nashville. A development deal with a major label went south, and I fled north with my hat in my hand. I joined a wedding band upon my return and was promptly fired for refusing to sing a Destiny’s Child cover. I sulked at a copyediting job by day and played a few divey gigs singing sad Dinah Washington songs by night. I was bummed out and broke, the subject of me and my tanked music career a sore one, my future a big, hazy question mark. Even 1,100 miles from Music Row, I felt surrounded by singer-songwriter types bent on making it, frenetically promoting shows and breathlessly extolling their latest recording projects. They made me tired. I didn’t see the point in singing, for fun or profit. I didn’t have the heart for it anymore.

When the agent offered me the memorial service performance, I took it anyway. It was a sad way to make rent, but beggars can’t be choosers. I assumed it would be just another weird, unfulfilling rent gig on my resume, like the time I sang the national anthem at a near-deserted horse track. Nothing I’d ever want to tell anyone about, and certainly not a game changer…

Read more: http://www.purpleclover.com/relationships/3849-songs-key-amy/

Video of the Week: Jim Stafford–’Cow Patti’

Another of Stafford’s finer moments.

See also: https://edcyphers.com/2016/12/02/video-of-the-week-jim-staffords-comedic-classical-gas/

Video of the Week: Jim Stafford’s Comedic ‘Classical Gas’

Jim Stafford gave us such 70’s novelty hits as “Wildwood Weed”, “My Girl Bill” and “Spiders & Snakes. He also had a knack for a performance that split the difference between comedy and musicality. From my father (a huge Victor Borge fan) I learned an appreciation of the comedic musician.

See also: https://edcyphers.com/2012/05/24/jim-stafford-performs-cow-patti/

I Didn’t Know That Was a Cover! Part 3

Have you ever been taken aback to discover a beloved or familiar song has roots in another decade, style, or incarnation? Did something you heard on the oldies station ever cause you to lose just a little of the awe and reverence you had for a particular artist’s creative proclivities?

In this our third installment revealing the relatively obscure original versions of familiar songs, we hope to open your eyes and ears once more with revelations about songs you didn’t know quite as well as you thought you did.

____________________

carnes

“Bette Davis Eyes”-Kim Carnes

Carnes’ career-making “Bette Davis Eyes” topped the charts for nine weeks and won Grammy awards for Record- and Song of the Year in 1981. While its arrangement is heavy on the atmospheric 80’s synths, Jackie DeShannon’s 1975 original by contrast comes on like Johnny Carson’s Tonight Show band.

While both versions have merit, the contrast between the two is jarring.

____________________

“Got My Mind Set On You”-George Harrison

What have we here? The legendary former Beatle (redundant I suppose, since you can’t be a former Beatle and un-legendary) teams with producer Jeff Lynne for a 1987 #1 hit that sounds like…a 1987 ELO song.

Again the contrast with the original (James Ray in 1962) is striking. Honestly in this case I can’t imagine a large number of people being fans of both incarnations of this song–making the case for studio production’s major role in a song’s appeal.

____________________

riot

“Cum On Feel the Noize”-Quiet Riot

Although Slade’s 1973 original has a certain glam rock charm, it also demonstrates in unmistakable terms the relative appeal of glam here (where it peaked at #98) and across the pond where British fans made it a chart-topping single. Conversely, Quiet Riot’s version didn’t chart in Britain, while American fans made it a #5 hit.

To my (American) ears Quiet Riot’s cover is a lesson in how to make a rock song feel more like a punch in your face. Like other 80’s metal anthems (Bon Jovi’s “You Give Love a Bad Name”, Twisted Sister’s “We’re Not Gonna Take It”, for example) it begins with the fist-pumping, anthemic chorus–not a verse–and is fueled by a much more pronounced backbeat.

____________________

“Good Lovin'”-The Rascals

Felix Cavaliere and the Rascals (who still called themselves the Young Rascals at the time) broke through with the first of their three #1 hits in 1966, a cover of the Olympics’ #81 chart dud of the previous year. Honestly, though Cavaliere and Co. upped the energy level a bit, I’m a little surprised the earlier version didn’t break the top 40 itself.

____________________

bowie

“China Girl”-David Bowie

Talk about your upgrades. Bowie’s slick, clean cover of Iggy Pop’s “China Girl” adds the  “Oh-oh-oh-oh” vocal hook and generally doesn’t sound like it was recorded in a garbage can. So it’s not a shock that it went top ten in 1983 while Iggy’s original has been heard by about seventeen people, including you if you played the above sample.

____________________

“No More I Love You’s”-Annie Lennox

The Eurythmics lead singer’s 1995 #23 hit was a cover of a non-charting original from a well-regarded self-titled album by new wave duo The Lover Speaks.

____________________

youngbloods

“Get Together”-The Youngbloods

“Get Together” peaked at #5 1968 for Jesse Colin Young and the Youngbloods and has considerable boomer cred as its plea for peace, love and brotherhood to triumph over fear is just the kinda shit hippies were into.

But it takes a true hippie to appreciate the song in its original incarnation. The Kingston Trio’s recording is perfectly emblematic of the genre of overly earnest 60’s folk so brilliantly pilloried in the film A Mighty Wind.

kingston

The Kingston Trio

 folksmen

Kingston Trio parodists The Folksmen

See also: https://edcyphers.com/2012/11/20/i-didnt-know-that-was-a-cover-part-2/

See also: https://edcyphers.com/2012/11/19/i-didnt-know-that-was-a-cover/

Previous Older Entries