ERNIE.
Cracklin' Rosie - Neil Diamond
- Album: Tap Root Manuscript
- Information: Although Diamond had finally become appreciated, it was this song that became his first #1 in the United States and broke him through in the UK. The meaning of the lyrics have long been a since of controversy: though many consider it to be about a prostitute, it's actually about a type of homemade brew created by a Native American tribe of Canada who had more men than women.
- Personal Thoughts: Let me be the first to admit: I thought it was about a prostitute too. It's just another one of those weird songs where you think they're talking about something and it turns out to be something way much more innocent. Regardless of whether it's about booze or a girl, Diamond's having a good time with...whatever it is. The orchestration is lush and the song is rather direct with what makes it sound like a tad bouncy when Diamond goes deep. And the strange plucking instrument that sort of plays between some of Diamond's words just gives it a strange uniqueness...incidentally I did read that the album this came off of essentially was one of the first to use African instruments and inspired Paul Simon's "Graceland"...so maybe that's why it's so memorable.
Big Yellow Taxi - The Neighborhood
- Album: Released as a single (unknown if any further information can be found)
- Information: Although written and originally released by Joni Mitchell where the song originally went nowhere, this cover went up to #29, giving it early exposure to the American airwaves even with the success of the Mitchell version in Canada and the UK.
- Personal Thoughts: Um...well, OK...this isn't Joni Mitchell. I have to admit that first. In fact, you do lose a lot of the simplicity of the song with this version, which seems like it wants to turn it something more like a big late 60s/early 70s anthem instead of...well, something as simple as Joni wrote it. The way the voices mesh together is unique but does somehow distract even compared to Joni's unique voice and interpretation, as well as the twanging guitars. Somehow this version of the song...it's tough to place it but somehow I'd expect it more on "Schoolhouse Rock" than to be a big single...heck, and I like good Schoolhouse Rock songs!
Rubber Duckie - Ernie (Jim Henson)
- Album: The Sesame Street Book and Record
- Information: Originally appearing in episode 0078 of the first season of the children's show and a suprise top-20 hit, this Joe Raposo-penned tune actually had a different set-up than the version that became more well known: the song and the bathtub was in the living room of the child-like Muppet's home! However, it was the squeak of this particular rubber duck that was used in all subsequent versions of the song on the show, considering no other duckie with that particular squeak could be found.
- Personal Thoughts: OK, I think it's time to make a confession: this is probably one of the first and most important reasons for the existence of this blog. Yeah: a song written by Joe Raposo for a kids show that is still on the air but sort of doesn't quite have the same impact as before...which made a song about a rubber bath toy as done by a kid who is performed by a guy who is probably one of the greatest geniuses in television history...into a top 20 hit. Well...maybe I'm going a tad overboard regarding it, but the truth of the matter is this: the apperance of this song shows the importance and relevance of "Sesame Street" when it first appeared on the scene in the '69/'70 season. Sure it was a kids show meant to be educational, but the way it was done was just so unique and different and out there that it became a pop culture phenomenon. It sort of gets at some of the aspects that I may have mentioned when I first started the blog: as popular as a lot of pop culture gets, releveance seems to only be notable the first few years something is out there. It may still be popular or notable, but for the most part the relevance goes away over time as it just becomes part of the mainstream. At this point in 1970, Sesame Street was one of the growing major forces in children's television. Now...it's still on the air but...well, to put it bluntly, it's "The Elmo Show". (and let's see Elmo try to break into the top 20 in the pop charts!) Yeah it may still claim to be important and win awards and notability and all that, but it's biggest and most important period is probably in the period of the first few years it was on the air when there was nothing else like it...as opposed to being controlled and modified to fit with today's children. I could say that with a ton of other TV shows and other things, but I rather not lest I create controversy or lose track of my mission. It's a music blog, not a blog on general pop culture. As for the song itself: it's simple, it's sweet and just feels catchy in a way that makes it feel more like a traditional tune than a pop song. Raposo gets his message across in two minutes with really bouncy music with kazoos and the eponymous squeak and Jim...well, Jim is Ernie. As laughable and as many stupid jokes and nonsense regarding him as pop culture gives him, Ernie is supposed to be a silly kid who seems to always take an optimistic and strange view of the world compared to the straight-laced, serious, by the book Bert. He's not gay, he's not evil, he's not some stupid joke or gag for an adult TV show...he's just Ernie and that's how he's supposed to be.
Candida - (Tony Orlando &) Dawn
- Album: Candida
- Information: In 1970, Tony Orlando was a retired top 40 singer who had two minor hits in the 60s before becoming an executive for April-Blackwood Music, a division of Columbia Records. When this song, penned by Toni Wine and Irwin Levine, was brought to him, he ended up recording it himself because no one else wanted to. But because of his position at the record company, he was forced to release the single under the name of "Dawn", in reference to both himself and his backup singers, which included writer Wine. When this song became a top-5 hit, Orlando left his executive position and returned to his original passion: recording pop music.
- Personal Thoughts: It's strange to think of Tony Orlando just giving up his job as a comfy record exec to make it to pop stardom, but he had a catchy song and just had to sing it. While it isn't Santana, you can't help but tap your foot with the Latin feel of the song complete with the horns and guitarwork, with the ladies of the original Dawn backing him up. As much of a joke as some make Orlando, he did have a lot of good songs on the charts, with this being the first of his major period: a humble appeal to a girl trying to win her heart.
I've Lost You - Elvis Presley
- Album: Released as a single
- Information: (No information could be found at this time)
- Personal Thoughts: First an admission: I couldn't find anything on this song. Yeah, Elvis did a lot of songs and not all of them really have too much about them, so that's sort of both my fault and the fault of the sources I used to find anything. As for the song...the introduction seems to feel like a Carpenter's song and Elvis...well, is 70s Elvis. Luckily it doesn't sound as showbusiness-ey as "The Wonders of You", but I just can't ever take this Elvis seriously. His appeals seem to try but...well, it's just tough to because it's...70s Elvis.
I (Who Have Nothing) - Tom Jones
- Album: I (Who Have Nothing)
- Information: Based on the Italian song "Uno dei tanti" (One of Many) by Joe Sentieri, it was originally performed in English by Ben E. King with lyrics translated by Jerry Lieber and Mike Stoller. Yet while covered by many artists, Tom Jones' cover was one of the most popular in the US, reaching #14 on the charts ultimately.
- Personal Thoughts: First of all, the orchestration of the song just makes it sound like a James Bond theme...yeah I know Tom Jones did "Thunderball" and Shirley Bassey also did a cover of it before him (though listening to it after Jone's version, it sounds more natural in her manner probably with more subdued orchestration), but...well, it just gives me the feel of such. Once you get past the Bond-like nature of the song, its a really cool presentation: the orchestration is rather lush and Jones gives his all with his feelings in singing it. Somehow compared to Elvis, who just seemed to phone it in by this point in his career, Jones really gives his all with this song and just presents it in a big, major way that doesn't sound cheesy at all. You could say it is cheesy...but I think it's just the "James Bond" feel preventing it from doing so.
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