When we sort the mp3s on the shelves looking for titles with the word “orange” – the second of nine stops on our tour of Floyd’s Prism – we don’t have a lot of irrelevancies to discard. The search brings up fifty-three mp3s, a good share of which will be useful.
We do have to discard the eleven tracks from the 1970 self-titled album of the group Orange Bicycle (a group whose “Jelly on the Bread” showed up on a recent Saturday), and we set aside as well the 1970 album by Paul Siebel titled Woodsmoke and Oranges. We also have to drop tracks from two similarly titled bands: “Your Golden Touch” by the Clockwork Orange, which I believe was a garage rock band from Paducah, Kentucky; and both sides of a single on the Liberty label, “After Tonight” and “Ready Steady,” by the Clockwork Oranges. The latter group was evidently from England, based on the note at the Lost Jukebox discography that calls the single an “Ember Records Production [f]rom London.”
We also lose a few tracks from Johnny Cash’s 1965 album Orange Blossom Special, both sides of a 1966 single by the Palace Guard on the Orange Empire label, both sides of a 1969 single by the group Orange Colored Sky, and an odd piece of leftist theater titled “Operation Godylorange” by a Danish ensemble called Totalpetroleum.
But we do have enough to work with, which is a relief, as I was worried about “orange” when I began to look at Floyd’s Prism. (I have my concerns about “indigo,” but we’ll deal with that when we get there.) We’ll start with the oldest of our six recordings and more forward from there.
A couple CDs’ worth of Nat King Cole’s music came my way a few years ago, and on one of them, I found our first record for this morning: “Orange Colored Sky” by the King Cole Trio. Recorded in August 1950, the track comes from a time when Cole’s recordings were sometimes credited to the trio and sometimes to Cole as a solo artist. The record, which was recorded with Stan Kenton and his orchestra (according to the notes of the 1994 CD Nat King Cole: The Greatest Hits) did not show up in the R&B Top 40. Given that, I’m not sure why “Orange Colored Sky” shows up in that hits package. It’s not like there was a dearth of material to choose from; between 1942 and 1964, Cole had forty-six records reach the R&B Top 40, and starting in 1954 and going into 1964, he placed sixty-six records in or the Billboard Hot 100. (In 1991, both charts – as well as the Adult Contemporary chart – hosted “Unforgettable,” the creepy hit that paired the long-dead Cole’s 1961 vocals with those of his daughter Natalie.)
I noted above that today’s winnowing took away a few tracks from Johnny Cash’s 1965 album, Orange Blossom Special. One track that survived, of course, is the title track. Recorded in December 1964 and released as a single, Cash’s take on “Orange Blossom Special” went to No. 3 on the country chart and to No. 80 on the Billboard Hot 100. The song, long a country and bluegrass standard, was written in 1938 by fiddler Ervin T. Rouse and first recorded by Ervin and Gordon Rouse in 1939. Their version is no doubt widely available; I found it on East Virginia Blues, one of the eleven CDs in the remarkable series of roots music titled When the Sun Goes Down: The Secret History of Rock & Roll. Cash recorded the tune at least one more time: The live album recorded in 1968 at California’s Folsom Prison includes a pretty good version of the song.
One of the stranger tracks I came upon this morning – not quite as strange as the Danish “Operation Godylorange” but still odd – was “Orange Air” from the 5th Dimension’s second album, the 1967 release The Magic Garden. Written by Jimmy Webb, the song notes in its chorus: “And then the night Jasmine came clinging to her hair and lingered there, and there was orange air.” At All Music Guide, Matthew Greenwald says the song is “another one of Jimmy Webb’s emotionally intense, slightly depressing lyrics that make up this brilliant concept album. The downcast message of being let down by the disintegration of a love affair is nicely juxtaposed by a buoyant arrangement and vocal performance.” I’m glad he got it, because I sure didn’t, but it’s still a nice track.
Staying in 1967 for another moment, we land on an outtake from the sessions that provided us with Music From Big Pink, the first album by The Band. “Orange Juice Blues (Blues For Breakfast)” first showed up as a track on The Basement Tapes, a 1975 release of some of the music The Band and Bob Dylan recorded in the months after Dylan’s July 1966 motorcycle accident and before the releases in 1967 of his John Wesley Harding and in 1968 of The Band’s Big Pink. The version of the Richard Manuel tune linked here is, I believe, the one included on the expanded edition of Music From Big Pink released in 2000 and labeled there as a demo.
And it’s off to San Francisco in 1971 and an album that reflected as it was being recorded the changing membership of the group It’s A Beautiful Day. The album Choice Quality Stuff/Anytime, notes Lindsay Planer of AMG, was recorded as “lineup number two was replaced by lineup number three – netting a separate band for the Choice Quality Stuff side and the Anytime side.” The sprightly instrumental “Oranges & Apples” shows up on the Anytime side of the LP, and it turns out to be an offering that sounds more like something from a middle-of-the road ensemble than a track from one of the great hippie bands of its time. David LaFlamme’s famous violin is hardly there at all, which is just weird. But then, the track is titled “Oranges & Apples,” which probably means something about comparisons.
And we close this edition of Floyd’s Prism with a stop in 1989 and a track from one of my favorite Van Morrison albums. “Orangefield” was tucked on the second side of Avalon Sunset, and I’m of two minds about it. It’s repetitious, both lyrically and musically, which should make the track a little tedious. But there’s something thrilling about it, too, with the string and percussion accents and the backing vocals of Katie Kissoon and Carol Kenyon pulling me in and drawing me briefly into another Morrison-inspired trance.