Posts Tagged ‘J. Geils Band’

Roogalators, Quetzals & More

Tuesday, July 5th, 2011

Today’s a good day to follow up on a few bits and pieces, most of them from Friday’s post.

As I wrote Friday, one of the things that caught my eye when I dug into Johnny Rivers’ “(I Washed My Hands In) Muddy Water” was that it had a tune called “Roogalator” as its B-side. I wondered in that post about the connection between Rivers’ B-side – a jam punctuated with shouts of “Roogalator” – and the record that Bobby Jameson made with Frank Zappa, “Gotta Find My Roogalator.”

I got a chance to ask Bobby about it Monday, and he told me: “I got the name ‘roogalator’ from Johnny when we were riding motorcycles in ’66. . . . Don’t know where he got it from.”

I noticed as I was digging that there was also a mid-70s band named Roogalator with several videos posted on YouTube. The persistence of “roogalator” reminds me of the fascination that musicians – mostly on the West Coast, I think – had during the late 1940s and early 1950s with the word “voot.” My collection of mp3s, which doesn’t focus too much on that era, has six songs that use the word in their titles, one of which is “No Voot, No Boot” by Dinah Washington with Lucky Thompson’s All Stars.

In the midst of my thinking about all that over the weekend, I got an email from my pal Yah Shure, who wanted to know if I was aware of WXYG, the new album rock radio station in the St. Cloud market. I wasn’t, but I followed Yah Shure’s lead and checked it out.

The actual radio signal is 250 watts, which is pretty slender, and it turns out that we can’t get it on our radios inside the house because of the presence of WJON less than a block away. But it comes in fine through its website (click the blue “Play” button), and it’s great fun. I looked at the station’s playlist as I’m writing this, and the last five tunes the station has played are “Give Me Love (Give Me Peace On Earth)” by George Harrison, “Tommy Can You Hear Me” by the Who, “I’m Not In Love” by 10CC, “Star” by David Bowie and “Empty Sky” by Elton John. And if I heard correctly over the weekend, the station is commercial-free all summer.

I found WXYG’s Facebook page and left a note saying that the station reminded me of the now-gone show titled “Beaker Street” that aired on KAAY out of Little Rock, Arkansas. And whoever takes care of the station’s Facebook page responded, saying “We like to think of it as ‘Beaker Street’ on steroids.”

“Give It To Me” by the J. Geils band was one of the tunes I listed last Friday, and I mentioned the single edit of the track, a version that edited out Magic Dick’s superb harp solo. In our exchange of emails over this past weekend, Yah Shure recalled that when he went to his local record store to purchase the single back in 1973, he found that some of the singles had the edited version of the track and some had the full-length version of the track. The two versions, Yah Shure said, were the products of two separate pressing plants. I wonder how often that’s happened.

And while Yah Shure told me he had no insight into the above-mentioned “roogalator” question, he said that he’d similarly wondered about the origin of Sonny Bono’s fascination with the word “quetzal.” (According to Wikipedia, “quetzal” refers to “a group of colourful birds of the trogon family found in the Americas. Quetzal is also often used to refer to one particular species, the Resplendent Quetzal.”) Yah Shure listed three titles in which Bono, as producer, used the word. Sadly – having deleted our email exchange – I can only recall one of them this morning. But here’s “Walkin’ the Quetzal,” a brief instrumental that was on the B-side of “Baby Don’t Go” both when it was released and went nowhere in 1964 (as Reprise 0309) and in 1965, when “Baby Don’t Go/Walkin’ the Quetzal” was released as Reprise 0392 and went to No. 8.

Continuing the quetzal quest, I found an interesting site called Probe is Turning-On the People! – evidently a catalog of webcasts, podcasts or actual broadcasts – and an entry there lists eight separate Sonny Bono “quetzal” records and says:

The so-called Quetzal records were a series of B-side instrumental throwaways created by Sonny Bono and his arranger Harold Battiste, in cooperation with Sonny & Cher’s managers Brian Stone and Charlie Greene. Quickly recorded and musically skeletal, the records were designed (in the manner of Bono’s mentor, Phil Spector) to compel radio attention to their respective A-sides. Although the songwriting was invariably credited to Bono, Greene and Stone, the general concensus is that the Quetzal sides were written (to the extent they were written at all) by Battiste.

The note adds, “[T]he word quetzal was an in-joke among Sonny and his friends, chosen most likely simply because they liked the sound of it.”

Chart Digging At The End Of June

Thursday, June 30th, 2011

The last day of June. Half-way through the year.

Fiscal years end today in a lot of places, including the state of Minnesota, where the state Legislature and the governor are still sparring over a budget. If there’s no agreement today, then many state office and services will be shut down tomorrow. I don’t know that the absence of any of those offices and services would affect our lives right away, but that just means we’re fortunate. Others, I know, are less so, and those who rely on state services for health care, for nutrition, for transportation are likely in for some precarious times. (A court ruling reported this morning contains the good news that health care and food stamps, among other services considered essential, will continue to be available. But state services considered nonessential will be discontinued if July 1 dawns without a budget.)

Political paralysis aside, the last day of June is a nice time to ponder the progress of things. We frequently do that at the end of the year when midwinter gloom makes it difficult to see progress or sometimes even much good. It’s a whole lot better, I think, to do that kind of navel-gazing at the midpoint of the year. It’s warm and generally sunny, and one can contemplate the way things are going while seated in a lawn chair next to a leafy oak tree, sipping from a cold mug of beer. Things always seem better with sunshine and beer.

And the mid-point of the year is a good time to dig into a few Billboard charts from over the years, as I am wont to do anyway. This time, we’ll be looking at records that were at No. 30 on June 30 over the years. We’ll start in 1961 and wander this direction.

According to Joel Whitburn in Top Pop Singles, the Edsels first released their one Top 40 hit on the Dub label in 1958, when its title was first “Lama Rama Ding Dong” and then the more familiar “Rama Lama Ding Dong.” But it wasn’t until 1961, when the same record was released on the Twin label, that “Rama Lama Ding Dong” became a hit. By the time June 30 rolled around, the record was on its way down the chart, having peaked at No. 21. The Edsels, who hailed from Campbell, Ohio, were of course named for the highly touted line of automobiles introduced by Ford in 1957. The vehicle was one of the greatest failures in American automotive history. The musical group, with one great doo-wop hit, did much better.

Listening to the introduction of Johnny Rivers’ “(I Washed My Hands In) Muddy Water” with the crowd noises in the background, I can only assume that the track was recorded – as were a number of Rivers’ mid-1960s records, including his No. 2 hit “Memphis” – live at Hollywood’s Whisky á Go-Go nightclub. And at the mid-point of June in 1966, “Muddy Water” was at No. 30, heading toward an eventual peak of No. 19. It was the tenth time Rivers had reached the Hot 100, and he’d end up with a total of twenty-nine Hot 100 hits by the time “Curious Mind” went to No. 41 in 1977. But what intrigues me this morning is the title of the tune on the flipside of the record: “Roogalator.” It was during 1966 that Bobby Jameson recorded and released his song “Gotta Find My Roogalator,” and I know that Bobby knew Johnny Rivers. The Rivers B-side is not the same tune; it’s an instrumental jam punctuated by shouts of “Roogalator!” So I wonder if it was a catch-word for folks in that milieu, or was it a shout-out to Bobby Jameson?

Having jumped five years in that first leap, we’ll now move up four years. In the last days of June 1970, the No. 30 song was “Teach Your Children” by Crosby, Stills, Nash & Young. I’ve written before that “Teach Your Children” is the best thing Graham Nash ever wrote in his long career, and I think I’ll stick by that statement. I have also mentioned that the track was one I featured on a long-ago radio show as one of the ten records I’d put on a desert island tape. (This was in 1988, just before CDs became the medium of choice.) And I find it interesting that a bit more than twenty years later, as I assembled my Ultimate Jukebox, “Teach Your Children” – which peaked at No. 16 – was not included. I still like the record, but the evidence shows that it doesn’t rate as highly with me as it once did.

When I glance at the Billboard Hot 100 from June 30, 1973, I find a record that I only vaguely remember. Sitting at No. 30 that week was “Give It To Me” by the J. Geils Band. It was the second Top 100 hit for the band (“Looking For A Love” had gone to No. 39 in early 1972), but it would go no higher than No. 30. The band eventually reached the Top Ten in the early 1980s with the No. 1 hit “Centerfold” and the No. 4 “Freeze-Frame,” neither of which I like as much as I like “Give It To Me” this morning. I find it interesting that the version of “Give It To Me” posted at YouTube is the single; at least one commenter there notes the absence of the harp solo by Magic Dick, which showed up in the version released on the album Bloodshot.

Jumping ahead just two years this time, we land in the middle of the summer of 1975, a season I wrote about not long ago. In that post, as I noted the presence of “Thank God I’m A Country Boy” in the Top Ten, I wrote: “I can do without the John Denver tune for the rest of my life.” Well, the ball takes funny bounces, and at No. 30 as June 1975 ended sat “Thank God I’m A Country Boy,” sliding down the chart after peaking at No. 1 during the first week of June. But that’s okay. Having John Denver show up as I dig through the charts does two things: It shows that I don’t cherry-pick when I dig, and it gives me a chance to link to a post I recently put up at Echoes In The Wind Archives in which I discussed my thoughts about John Denver in the context of a 1975 visit to a St. Cloud pizza joint gone now for many years.

And we’ll end this journey in 1976 with a record that I tend to forget about, and it’s one I liked a fair amount when it was on the radio. Keith Carradine’s “I’m Easy” was sitting at No. 30 as June ended that summer, heading to peaks of No. 17 on the pop charts and No. 1 on the Adult Contemporary chart.  Having been cast in Robert Altman’s acclaimed 1975 movie Nashville, Carradine wrote “I’m Easy” for his character to perform in the film. The tune earned him an Academy Award for Best Song. Here’s his performance of the song from Nashville: