Friday, February 16, 2018
So I just heard this record for the first time this week, and even though it's a Christmas song-poem, I didn't want to wait ten months to share it with you. It's our old friend Cathy Mills, occasional star of the Tin Pan Alley label, doing (what was apparently) her best to sound cutesy. Perhaps the results are exactly what the song-poet was looking for. I certainly hope so, but what I hear is an entire performing ensemble being as cloying and obnoxious as I would think was possible. It's certainly not impossible that this was on purpose - I've heard enough song-poems to know that sometimes the musicians had a bit of mean-spirited fun with the material.
Whatever its backstory, I find "Just Like" to be sort of wonderfully awful. See what you think.
Download: Cathy Mills - Just Like
One listen to Cathy Mills' flip side, "Hey, Hey" makes clear that her real singing voice sounds nothing like the kiddie voice on "Just Like". Here we have a tribute to the various instruments that make up a combo who are playing a rockin' number. And all is fine with that - there's a trumpet, a sax, a mellow organ. Cool. But then, in a phrase I'm not sure has ever been uttered or written, outside of this song, "Don't forget the bass cello groan". Yep. That old groaning "bass cello".
(And yes, I understand that the writers were surely referring to a double bass, but still... "The bass cello groan"?)
Download: Cathy Mills - Hey, Hey
Friday, February 09, 2018
This week, it was my great pleasure to receive an e-mail from perhaps the highest profile correspondent that I've ever heard from, throughout my blogging career. More about that, perhaps, later, but the subject of the e-mail was his love and particular fascination with Rodd Keith's work with the Chamberlin, at Film City records. And so, even though i just recently featured another of Rodd's records from this period, I thought I'd share another one, in response to that writer, his e-mail, and our upcoming phone conversation.
What's more, this record has what may be one of the quintessential titles for a song-poem record - a phrase which captures a frequent thing thought or said about a relationship or an incident, and which is behind a good number of song-poems, yet rarely actually chosen as a title, partly because those phrases are not particularly musical or poetic. My pal Stu's favorite in this "quintessential title" category is "You Insulted Me", as sung by Sammy Marshall (under the name "Ben Tate").
So here's another one. As sung by Rodd Keith (as always for Film City, under the name "Rod Rogers", with his one man band Chamberlin act represented here as "The Film City Orchestra and Chorus", with "I Am Deeply Hurt". It's a shuffle of a beat, with Rodd singing in a supper-club baritone, a pleasant enough diversion, if nowhere near what he was capable, until the truly fabulous last note, which is worth the price of admission.
And speaking of clunky song-titles, on the flip side, we encounter "Please Come Back to Me, Sweetheart", a pretty darn bland number. It's a competent performance, but one with few, if any, of the minor charms of "Deeply Hurt", at least to these ears.