Radio RPB #008 April 27, 2018

RADIO RPB #008 • April 27, 2018

Jazz Gillum – I Want You By My Side
Lee Dorsey & Betty Harris – Love Lots Of Lovin’
Nick Lowe- I’ve Changed My Wild Mind
Del Shannon – Sister Isabelle
Buddy & Julie Miller – Keep Your Distance
Glenda Collins – Something I’ve Got To Tell You
Tuff Darts – Rats
Tom Robinson Band – Man You Never Saw
The Rezillos – It Gets Me
The Escorts – Night Time

This week’s set starts off with a harmonica driven number by Jazz Gillum from Indianola, Mississippi. Despite its vintage, I Want You By My Side has the kind of rollicking feel that I’d more expect from a record one or two decades past its 1936 origin. Originally on the great Bluebird record label, this copy comes a Yazoo compilation.

I had the great joy of spending a few days in New Orleans recently, and I made sure to load up my portable music player with loads of songs local to that great city. Allen Toussaint wrote, produced and released this great number, Love Lots of Loving on his Sansu label. Lee Dorsey and Betty Harris treat it more as a shared song than a duet (I’m working on what that really means) and always a treat to hear Toussaint on those backup vocals.

I hear a little bit of publicity machine wind-up that Nick Lowe is coming back to rockin’ with a new rockabilly single in June 1018. Fact is that Nick Lowe never really left his rockin’ side, and I submit as evidence one side of this fun rockabilly single he released in 2011. Fun fact – he released this as a 7” 45rpm and gave marketing execs a curious task by also releasing the single as a 10” 78rpm disc. Even recent Robert Johnson 10” collectors reissues ran at 45rpm, so hat’s off to Nick Lowe, the purist!

Next, an absurdly catchy number about unrequited nun-love, performed by the great Del Shannon and co-written with Brian Hyland, best known for his huge hits with Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini, and the sentimental end-of-summer lament, Sealed With A Kiss. I first encountered the oddball catchiness that is Sister Isabelle on an early Del Shannon CD compilation, but was happily surprised years later when I found that Teenage Fanclub felt the same affection for the song and performed the song at a BBC session with Frank Black.

Richard Thompson’s songwriting and performing career is long and intimidating. It was already long and intimidating to me in 1991 when he released his acclaimed Rumor and Sigh LP, but after dancing around his justifiably most famous LP’s with Linda Thompson, I dove deep into his catalog, and suggest to you that it is a worthy endeavor. Musical and lyrical rewards at every turn, and despite RT’s dour reputation, his wonderful sense of humor is a constant. Oops, I don’t play Richard Thompson this week, but I do play Buddy and Julie Miller’s cover of Rumor and Sigh’s Keep Your Distance. They treat it like a classic Richard & Linda duet and their performance takes a great song to even greater heights.

Glenda Collins was part of Joe Meek’s stable of stars, but I’m not so sure you could call her a star, at least  if your barometer of success is making the pop charts. Every single one of her singles on Decca, HMV and Pye was a commercial flop, but that means little me at Radio RPB HQ. This flop is notable for its all around excellence – great melody, arrangement, production and vocal delivery. What could have gone wrong? Well, let’s face it – the lyric is , uh, unusual. Glenda confesses and apologizes for indiscretions “every time you go. What makes me do it, I don’t know.” Yow. Ouch. Not sure that the average 1966 lovelorn teeny was ready for that kind of trauma.

New York’s Tuff Darts amp things up with this b-side to their lone 1978 single. It also appears as the opener to their self-titled LP, but you’re listening to the 45 in case you’re checking.

Man You Never Saw from Tom Robinson Band appeals to me for its sharp guitar breaks and paranoid lyrics!They’re best known for 2-4-6-8 Motorway, but their first LP Power In The Darkness (as well as the followup TRB 2) sound particularly good to me these days. Strong songs performed and arranged with lots of clever (but gimmick-free) touches, and Robinson’s lyrics were always ahead of their time.

Photo: Ian Dickson

The Rezillos 1978 Sire LP is tops and on the off chance that you don’t own a copy, please step away from this blog and make a purchase. Can’t Stand The Rezillos is just too good, too perfect. It hard to choose from its track list, so I made a conscious decision to choose It Gets Me, perhaps a lesser known track from this (did I mention) consistently fantastic LP.

And to shut things down on this episode we turn to the UK with The Escorts, and the b-side to their last single, Night Time. I’m a big fan of this record, and while I can understand why it didn’t hit the 1966 charts, it remains a favorite for me. I first encountered this song covered by Escorts über-fan Elvis Costello.That’s why I always the b-sides and credits!

That’s why I only operate at Night Time – listen in again next week!

Radio RPB #007 April 13, 2018

Radio RPB #007 April 13, 2018

Leola & Lovejoys – He Ain’t No Angel
The Furors – Hey Joni
Rhythm Heritage – Treat A Dog (The Way You Treated Me)
Robert Gordon- Treat A Dog (The Way You Treated Me)
Chris Spedding – Hey Miss Betty
The Easybeats – See Saw
The Syndicats – Crawdaddy Simone
Wreckless Eric – They Don’t Mean No Harm
Pete Galub – Waiting
Chris Montez – One Note Samba

Is it a hit record if it hits #100 on the top 100? Certainly! The Ad-Libs (of Boy From New York City fame) had the hit, but I prefer this version Leola and The Lovejoys. Leola sings it with just the right amount of snarl, so you know she’s no angel either.

New Haven’s The Furors were way ahead of the curve on the guitar/drum duo thing, performing and self-releasing their own very unique records since the early ‘80s. By my count The Furors have released at least three versions of Hey Joni, but this is my favorite from their 1982 Little Numbers EP. I still haven’t found an affordable copy of my favorite Furors 45, A Thing For Blondes, but when I finally get a copy I’ll share, I promise.

Robert GordonRhythm Heritage is a blanket name for the production team of Steve Barri and Michael Omartian. They scored huge success with TV themes (Baretta, Starsky & Hutch) but this track appeared as the b-side of their huge hit, Theme From S.W.A.T. I should have played a little more without talking all over it. It’s essentially a fully produced track that replaces the lead vocal with a lead Moog synth. Good song, vocal versions by Bobby “Blue” Bland, Johnny Rivers and even Cher. My favorite version is by Robert Gordon from his Live at The lone Star LP. Why is it my favorite? No doubt, it’s because of the guitar parts played by Chris Spedding and as I mention in the set, watch out for Spedding’s solo. In my excitement, I neglected to mention the rhythm section here – Tony Garnier on bass, and Anton Fig on drums.

Chris Spedding has a long and storied history as one of Britain’s most popular session guitarists and his stock rose in late 70s when he emerged as a presence during punk’s early prominence, thanks to production association with The Sex Pistols and a collaboration with The Vibrators. Hey Miss Betty is the b-side to Get Outa My Pagoda, his 1977 single on the RAK label. The same track was later included on Spedding’s Guitar Graffiti LP, with audience applause and sound effects added to give the impression of a live recording. I wouldn’t do that to you.

Australia’s Easybeats chime in next with See Saw from their 1968 LP Vigil. The Australian version of the LP featured a unique mixes and running order, and was recently reissued for Record Store Day. I normally stay far away from Record Stay Day releases but this one was too much fun to pass up. Kudos to Sal Maida (check out his weekly radio show Spin Cycle on Little Water Radio) for turning me on to this release.

Producer Joe Meek reportedly let the Syndicats alone to do their thing on Crawdaddy Simone, but Meek’s knob twiddling is apparent in the instrumental sections of this completely unhinged recording. Can the band get any louder? Yes? Can the recording get any louder? Can we get louder than that? Yes, we can.

Wreckless Eric once wrote a tribute song to Joe Meek, but They Don’t Mean No Harm comes from his brand new (as of this writing) LP entitled Destruction Time and Demolition. Eric Goulden came on the Stiff Records scene in 1978 and has never stopped making interesting records. That he’s still releasing records 40 years after starting is impressive, but I wouldn’t care if the records weren’t good. And they’re great.

Pete Galub is an NYC based performer and songwriter. He’s a frequent collaborator and guest musician on some of the best NYC artists, but his 2013 release caught my ears and never let go. The songs are often catchy, but Pete is not afraid to get noisy, complex and weird. I’d say it’s a neat trick, but it’s not a trick. It’s a great ear, great songs and performance.

More next week!

RADIO RPB #006 APRIL 7, 2018

RADIO RPB #006 APRIL 7, 2018



Dan Hicks – The Innocent Bystander
Buddy Miles – I Still Love you Anyway
Carole King – Eventually
Emitt Rhodes – Isn’t It So
John Cale – Paris 1919
Rodd Keith – How Can A Man Overcome His Heartbroken Pain
Candy Butchers – Come On Girl

I talk about keeping it down-low this week, a little more introspective, a short stray from my usual taste for the more upbeat.

The Innocent Bystander is an early version of Dan Hicks’ Moody Richard (The Innocent Bystander) and I found it on Early Muses, a Big Beat Records compilation of Hicks demos. His records are unclassifiable and I’ve only recently come round to them. He died in 2016 so I’ll have to be content with exploring his considerable back catalog.

Stories is best known for their hit Brother Louie, but here’s a more gentle number off the same LP.

Buddy Miles made a splash with The Electric flag and Jimi Hendrix’s Band of Gypsies, but I Still Love you Anyway is an album track from his 1970 solo LP, Them Changes. There are plenty of other good tracks on the LP (including a fine cover of Neil Young’s Down By The River) but the backup vocal parts on this track warranted a share.

Before she took over the record charts with the Tapestry album in 1971 Carole King released a great album called Writer. This is one of my favorites of that record for lots of reasons, but one of those reasons lis the crazy mix. There’s a point where the organ swells to the point of almost taking over the entire track. I love that.

Emitt Rhodes released a slew of terrific albums in the early 70s then disappeared. He came back a couple of years ago with a great record that fits right into his older solo work. Isn’t it So has been kicking around for a few years now (there’s an early version on one of the “listen Listen” compilations) but this version from Omnivore’s 2016 release Rainbow Ends is fully realized. I’m glad he nailed it.

I saw John Cale in performance at BAM a few months ago, it was a career retrospective and he did not perform this the title track from Paris 1919. It was a stunning show for its musical diversity but it made no attempt to please the audience with anything well known or hit-like. Philistine-me, I enjoyed the show but wanted to hear this one. So I play it here.

Rodd Keith‘s How Can a Man OVercome His Heartbroken Pain is one of the better known Song-Poems, if that can be a true statement. To their credit and good taste, I’ve read that it has occasionally entered into Yo La Tengo’s repertoire but I think it would be hard to perform this number without being a little cheeky. The original recording feels dead serious and emotion. I believe it, and I love it.

Candy Butchers’ lack of mainstream success is a music industry botch but I’ll get into that on a future episode. This track comes from a collection of Candy Butchers demos released in 2006, a CD titled Makin’ Up Time. This was the stunner track for me – strings, horns and a gutsy guitar sound, all apparently played live to tape. Frontman Mike Viola continues to make new music in all sorts of interesting directions

Radio RPB #005 March 30, 2018

Radio RPB #005 March 30, 2018



Cub Koda & The Points – Welcome To My Job
Nolan Strong and The Diablos – It’s Because Of You
The Breakaways – That Boy Of Mine
Louie Prima & Keely Smith – Mashuga
Roy Orbison – I Like Love
The Delmonas – He Tells Me He Loves Me
Brinsley Schwarz – Give Me Back My Love
Andy Partridge – Sonic Boom
Gary Lewis And The Playboys – Count Me In
The Judy’s – The Moo Song
The Spampinato Brothers – Love Came To Me

Radio RPB #005 – my favorite mix of songs yet.

Cub Koda and The Points

Cub Koda and The Points lay it on the line with what must have been the perfect opener to any live set. Welcome To My Job draws a line between the band and the audience, and Cub lets the audience know that they’ve got responsibilities to keep (“I hate playing for an oil painting”). Cub Koda is best known for Smokin’ In the Boys Room with Brownsville Station, but his solo output in the 1980s and beyond is full of great surprises, just like this this one.

Fortune Of Hits Vol. 2

I’ve been listening to lots of Nolan Strong and The Diablos lately. Most of the Fortune Records catalog is way out of print and tough to come by, but I’ve recently found some compilation issues from the early ’70’s and it’s a treat to these songs and Nolan Strong’s unique voice. I pulled this one from the Fortune of Hits Vol. 2 LP

That Boy of Mine (1964)

The Breakaways were best known as a trio of backup singers and you’ve heard them on big hits by Petula Clark, Dusty Springfield and dozens of other British pop hits. They also released a few singles on their own and That Boy Of Mine was their first. It’s pleasant, not especially deep, but has some nice touch that keep me coming back. About a minute into the track they delay delivery of the word “of” in the line “He’s the only one I’m dreaming…. of” and I just eat that stuff right up.

Mashuga for my sugar

Louie Prima and Keely Smith are legendary performers, but not necessarily based on this oddball 1959 novelty. I can’t agree with their transliteration of “Mashuga” (I’d go with “meshuga”) but I can’t resist a lyric like “I’m mashuga for my baby, and my sugar is crazy for me.”

Before Roy Orbison came into his true self with truly monumental recordings for Monument Records, he was part of the Sun Records stable of legends. He didn’t write I Like Love ( that would be Jack Clement), but his vocal delivery could with the Sun sound make this one of my Orbison favorites.

Del Monas EP vol. 1

The Del Monas were hooked in to the Medway scene formed by  Britain’s The Milkshakes in the early ‘80s. They pursued and captured a great raw take on the  60s’s girl group sound,

And yep, the backing band is The Milkshakes.

Brinsley Schwarz are best known as pub rock icons, but by the end of their career they started edging toward a poppier sound, probably attributable to the sensibilities of band members Ian Gomm and Nick Lowe. Nick wrote this one, and it’s taken from a collection of BBC performances.

Fuzzy Warbles

XTC‘s Andy Partridge seems to record precise demos for all of his songs. Recent reissues of XTC LP’s contain mountains of demo recordings that reveal how well planned and organized Partridge can be. I don’t think Sonic Boom was ever re-recorded beyond this demo, but thankfully it was released on one of Partridge’s Fuzzy Warbles demo compilations. I sought it out after I first heard the song performed by the Incredible Casuals when it was posted as a live Youtube clip.

The Moo Album

The Judy’s hail from from Pearland, Texas (I mistakenly named  them as an Austin band in the show) and The Moo Song is taken directly from The Moo Album. It’s become  a family singalong favorite. The words are easy but you’ll need one or two tries for the melody.

Count Me In by Gary Lewis and the Playboys is a bonafide, regular hit record and I’ll never grow sick of it.

Smiles EP

The Spampinato Brothers can do no wrong for me. Bronx bonafides, NRBQ bonafides, and this track, the closer from most recent release Smiles. It’s as beautiful and perfect as anything Joey Spampinato sang during his years in NRBQ and there’s no song that should follow it, at least on any radio show of mine.

Please consider a donation to Joey’s GoFundMe campaign for cancer treatment.

Bonus Video

Radio RPB #004

Radio RPB Episode #004

Radio RPB

Presented March 23, 2018

You’ll hear it in my voice. I got a little TOO excited about the records I chose for you this week.  My excitement is understandable,  because these records are all worthy of a platter party, and that’s exactly what we’re going to do.

Compilation of rare Larry Williams recordings
Unreleased Larry Williams, Specialty, 1986

We start off with a killer,  an early take of Larry Williams’ Bad Boy.  They smoothed out the edges a bit for the final version, but this version is W-I-L-D and it’s taken straight off the LP  Unreleased Larry Williams.

Some friends were discussing  under-rated LP’s this week and I nominated The Kinks Kontroversy. The World Keeps Going Round is a highlight from that must-have 1965 LP.

The Booty Don't Stop
The Booty Tape

I discovered The Booty Don’t Stop at a live show in 2002 . Pre-show, the headliners were playing this entire CD over the PA as the audience grew increasingly restless. The headliners  were Jay Bennett and Edward Burch.

300 Pounds Of Hongry (written by Tony Joe White)  is a bouncy cut from Carlene Carter’s Blue Nun LP. Carlene  saw enormous (and deserved) mainstream success in the ’90s, but she first got my attention with Blue Nun and Musical Shapes, a duo of LPs featuring the extended Rockpile family.

Lene Lovich

Lene Lovich is a name that you don’t hear much these days but she figured big in my New Wave adventures. Her debut album Stateless was full of great songs, but the New Toy single from a few years later remains my favorite.

MSR Madness Vol. 1
The Beat Of The Traps, Tommy Ardolino’s compilation of song-poems.

Norm Burns sings one of my all-time favorite song-poem tracks. I know the song title doesn’t make any sense, but a lyric like “Baby, Set Your Date On Time” should be  allowed to defy standard syntax.

The Sprague Brothers first caught my attention with their Hightone Records release Let The Chicks Fall Where They May, but the lovely It Doesn’t Hurt Anymore comes from The Savage Sprague Brothers, a self-released compilation of early tracks.

Spring was an early 70’s project of Diane Rovell and Marilyn WIlson (née. Marilyn Rovell).  Marilyn’s husband Brian produced and I’m pretty sure we can hear him singing along toward the end of the song.

Myracle Brah ends the set with the opening track from their debut LP Life On Planet Eartsnop. I don’t know how to pronounce “Eartsnop” so I didn’t even try.


Larry Williams – Bad Boy (Alternate Version)
The Kinks – The World Keeps Going Round
The Booty Don’t Stop – Ypsilanti All Stars
Jay Bennett and Edward Burch – Drinking On Your Dime
Lene LovichNew Toy
Norm Burns – Baby Set Your Date On Time
The Sprague Brothers – It Doesn’t Hurt Anymore
Spring – Sweet Mountain
Myracle Brah – Whisper Softly


Radio RPB 003 March 16, 2018

Betty Hutton at the CBS microphone

Radio RPB presented March 16, 2018.

We’re having a platter party.

If they spin at  33, 45, 78 or 500 rpm, I’ll play ’em.

Dion & The Belmonts – My Girl The Month Of May
Nick Lowe – Time Wounds All Heels
Tim Heap – Ghost Train
Aimee Mann – Lies of Summer
David Nagler – Court in Session
East River Pipe – I Won’t Dream About The Girl
Steam – Love And Affection
Betty Hutton – Hamlet

Bonus Video

RPB RADIO 002 March 9, 2018

Little Eva – Makin’ With The Magilla (Dimension)
Gunbunnies – My Favorite Waste Of Time (Max Recordings)
Lane Steinberg – You’re Not Connected To the Internet (Bandcamp <>)
Charlie Chesterman – Ona Stacka Bibles (Slow River Records)
The Beatles – Eight Days A Week (Capitol)
Cilla Black – I’ve Been Wrong Before (Capitol)
The Good Life Ltd – You’re All I Need To Get By (Jester)
Dr. Feelgood – Hi-Rise (United Artists Records)
Geechie Smith And His Orchestra – And I Wants To Thank Ya (Capitol Americana)

RADIO RPB – Guest Hosting on Dead Air Radio Dec. 6, 2017

Great fun with Peter at The Dear Air Radio show.  Peter started off with a tribute set to Tommy Keene, then we traded sets and ended up sticking to 7″ 45rpm for the rest of the evening. Great fun, and three hours of great songs. Link to show below the playlist.

The Good ,The Bad, the Ugly Ennio Morricone

Peter’s set

Where Are They Now The Kinks
Places That Are gone Tommy Keene
Love Is A Dangerous Thing Tommy Keene
Back To Zero Tommy Keene
Already Made Up Your Mind Tommy Keene
Baby Face Tommy keene

Peter Speaks

Love Is Love The Razz
Down Payment Blues ACDC

Peter & Richard Chat

Richard’s Set ALL 7” 45RPM!

Yes Sirree Earl Grant
The Trains Nashville Ramblers
Twine Time Alvin Cash 7 The Crawlers
Cara-Lin The Strangeloves
My Baby Likes To Boogaloo Don Gardner
No Good To Cry Tobie Legend
Again And Again The Van Dykes

Peter’s Set ALL 7” 45RPM!
Let’s Shake Teenage Head
I Can Feel The Fire Ron Wood
Have I The Right The Honeycombs
Tell That Girl To Shut Up Holly & The Italians
Party Weekend Joe King Corrasco
123 The Professionals
Noel Ford HEAP
Staring At The Rude Boys The Ruts
I’m Not Like Everybody Else The Kinks

Richard’s Set ALL 7” 45RPM!
Love Is What You Need Danny Gatton
I Wanna Be The Only One Kip Anderson
Wake Me Shake Me The Wrongh Black Bag
Birds Bill Durso
I Just Dropped In to See What Condition My Condition Was In Sharon Jones & The Dap Kings

Richard Speaks

Picture Sleeve The dB’s
Different For Girls Joe Jackson
Step Inside Love Cilla Black

Peter’s Set ALL 7” 45RPM!

See My Baby Jive Wizzard
Brickfield Nights
What Keeps Your Heart Beatin’? Rattlers
Money Changes Everything The Brains
I Can’t Stand My Baby Rezillos
Ride A White Swan TRex

Peter Talks

Kicks Paul Revere and The Raiders
I’ll Be You The Replacements
Hippy Hippy Shake The Swingin’ Blue Jeans

Peter Talks

Richard’s Set ALL 7” 45RPM!
Stop And Go Roger C. Reale & Rue Morgue
Go Away Hound Dog Nick Lowe
Glad All Over Carl Perkins
Howard Johnson NRBQ
I Like To Be Clean The Mumps
Shattered Todd Snider

Peter Talks

1+1<2 Classic Ruins
Faith In Love (Acoustic Version) Tommy Keene


No Good To Cry

As I work toward bringing together the reissue of Roger C. Reale’s Radioactive and its unreleased followup LP, I’m reminded of this CD I compiled way back in 2001. There are similarities – both Connecticut acts recorded at Trod Nossel studios, both had catalogs mired in hard feelings and missed opportunities. As a third party, my job in both cases was to acknowledge the issues that kept the music locked away, but to find a way to transcend those issues and get the music out there.

No Good To Cry: The Best of The Wildweeds
No Good To Cry: The Best of The Wildweeds

I first heard The Wildweed’s hit No Good To Cry via The Reducers. We were recording what would become their Shinola LP at Trod Nossel. Not aware of all the studio history, the band mentioned that one of the song’s they were recording took its rhythmic inspiration from The Wildweeds track, recorded in the very same room. I investigated and soon after started collecting all of The Wildweeds original 45s I could find. Later on I realized the 45s would compile into a great LP, unaware that there was a treasure trove of unreleased material that would eventually fill out the compilation CD.

In 2001 I pitched the idea of a Wildweeds compilation to Michael Shelley, who was starting up a record label with Dean Brownrout, of Big Deal Records fame. In the case of The Wildweeds, the timing was right to license the music for release, but thirty year old grudges kept us from getting access to images, interviews and cooperation of the band members. Persistence, patience and a genuine desire to present the music in its best possible light paid off. Michael and I set up a sit-down reunion with the band and they shared plenty of laughs and many, many stories. Along with their terrific music, the package we put together presented their story, pictures and memories with the honesty and integrity The Wildweeds deserved.

Unfortunately the Confidential Wildweeds CD is now out of print. I’ve made overtures to put out another issue of The Wildweeds tracks but as with all things, patience, persistence and maybe a little luck will win out.