A: OPIUM
Friday, January 30, 2009
Brainbuster Question of the Day for Fri, Jan. 30th, '09
Q: Fearing that its name might lead to the "spiritual pollution" of Chinese youth, China has banned the sale of which Yves Saint Laurent perfume product in stores across the country?
A: OPIUM
A: OPIUM
Sensational '70's Tune for Fri, Jan. 30th, '09
A number 1 hit for Billy Swan in 1974:
Best remembered for his 1974 neo-rockabilly smash "I Can Help," Billy Swan had a long and varied career in the music biz, with a large percentage of it spent behind the scenes. Swan was born in Cape Girardeau, MO, in 1942 and grew up listening to country music until he discovered rock & roll as a teenager. He learned drums, piano, and guitar and also began writing songs. "Lover Please," a song he wrote at age 16, was recorded by a local group he played with called Mirt Mirly & the Rhythm Stoppers; later, when Swan's friends traveled to Memphis to record with Elvis bassist Bill Black, Black wound up cutting the tune himself. Not long after, "Lover Please" found its way to R&B star Clyde McPhatter, who turned it into a Top Ten hit in 1962. Swan stayed in Memphis to write for Black's combo and also worked as a guard at Graceland for a time. He soon moved to Nashville, where he worked as a janitor at the Columbia studios (later handing the job over to a young Kris Kristofferson) and later as a roadie for Mel Tillis; he also wrote songs recorded by Tillis, Conway Twitty, and Waylon Jennings. An association with Monument Records led to Swan's first gig as a record producer, in which he oversaw Tony Joe White's 1969 Top Ten smash "Polk Salad Annie." The following year, Swan joined Kristofferson's backing band as the bass player and toured with him for the next year and a half. He next served as a sideman for Kinky Friedman and Billy Joe Shaver, and shortly after his return to Kristofferson's band, he got a recording deal of his own with Monument.Tossed off in the studio during sessions for Swan's first album, "I Can Help" was a bouncy, rockabilly-styled number that featured Swan's distinctive electric organ work. It went to number one on both the pop and country charts in 1974, and the accompanying album of the same name also topped the country list. Swan never came close to duplicating its success, but he did reach the country Top 20 with a 1975 single, "Everything's the Same (Ain't Nothing Changed)," and cut three more albums for Monument. He later recorded an album for A&M in 1978 and another for Epic's country division in 1981. He also continued to play in Kristofferson's touring band and worked with T-Bone Burnett frequently during the '80s as well. In 1986, Swan teamed with Randy Meisner in the country-rock band Black Tie, which released the album When the Night Falls. Taking time out from his still-active career as a session and backup musician, Swan recorded a new album at the original Sun studios, Like Elvis Used to Do, in 2000. In 2002, he teamed up with Meisner again, as well as Alan Rich, on a self-titled album from the aptly named Meisner, Swan & Rich
Best remembered for his 1974 neo-rockabilly smash "I Can Help," Billy Swan had a long and varied career in the music biz, with a large percentage of it spent behind the scenes. Swan was born in Cape Girardeau, MO, in 1942 and grew up listening to country music until he discovered rock & roll as a teenager. He learned drums, piano, and guitar and also began writing songs. "Lover Please," a song he wrote at age 16, was recorded by a local group he played with called Mirt Mirly & the Rhythm Stoppers; later, when Swan's friends traveled to Memphis to record with Elvis bassist Bill Black, Black wound up cutting the tune himself. Not long after, "Lover Please" found its way to R&B star Clyde McPhatter, who turned it into a Top Ten hit in 1962. Swan stayed in Memphis to write for Black's combo and also worked as a guard at Graceland for a time. He soon moved to Nashville, where he worked as a janitor at the Columbia studios (later handing the job over to a young Kris Kristofferson) and later as a roadie for Mel Tillis; he also wrote songs recorded by Tillis, Conway Twitty, and Waylon Jennings. An association with Monument Records led to Swan's first gig as a record producer, in which he oversaw Tony Joe White's 1969 Top Ten smash "Polk Salad Annie." The following year, Swan joined Kristofferson's backing band as the bass player and toured with him for the next year and a half. He next served as a sideman for Kinky Friedman and Billy Joe Shaver, and shortly after his return to Kristofferson's band, he got a recording deal of his own with Monument.Tossed off in the studio during sessions for Swan's first album, "I Can Help" was a bouncy, rockabilly-styled number that featured Swan's distinctive electric organ work. It went to number one on both the pop and country charts in 1974, and the accompanying album of the same name also topped the country list. Swan never came close to duplicating its success, but he did reach the country Top 20 with a 1975 single, "Everything's the Same (Ain't Nothing Changed)," and cut three more albums for Monument. He later recorded an album for A&M in 1978 and another for Epic's country division in 1981. He also continued to play in Kristofferson's touring band and worked with T-Bone Burnett frequently during the '80s as well. In 1986, Swan teamed with Randy Meisner in the country-rock band Black Tie, which released the album When the Night Falls. Taking time out from his still-active career as a session and backup musician, Swan recorded a new album at the original Sun studios, Like Elvis Used to Do, in 2000. In 2002, he teamed up with Meisner again, as well as Alan Rich, on a self-titled album from the aptly named Meisner, Swan & Rich
Thursday, January 29, 2009
Brainbuster Question of the Day for Thu, Jan. 29th, '09
Q: Which person designed the U.S. monetary system, including the decimal system of dollars and cents, as well as the coins and bills we use today?
A: THOMAS JEFFERSON
A: THOMAS JEFFERSON
Sensational '70's Tune for Thu, Jan. 29th, '09
A number 2 hit for CCR in 1970:
At a time when rock was evolving further and further away from the forces that had made the music possible in the first place, Creedence Clearwater Revival brought things back to their roots with their concise synthesis of rockabilly, swamp pop, R&B, and country. Though CCR was very much a group in their tight, punchy arrangements, their vision was very much singer, songwriter, guitarist, and leader John Fogerty's. Fogerty's classic compositions for Creedence both evoked enduring images of Americana and reflected burning social issues of the day. The band's genius was their ability to accomplish this with the economic, primal power of a classic rockabilly ensemble.
The key elements of Creedence had been woodshedding in bar bands for about a decade before their breakthrough to national success in the late '60s. John's older brother Tom formed the Blue Velvets in the late '50s in El Cerrito, CA, a tiny suburb across the bay from San Francisco. By the mid-'60s, with a few hopelessly obscure recordings under their belt, they'd signed to Fantasy, releasing several singles as the Golliwogs that went nowhere. In fact, there's little promise to be found on those early efforts, primarily because Tom, not John, was doing most of the singing. The group only found themselves when John took firm reigns over the band's direction, singing and writing virtually all of their material.
On their first album as Creedence Clearwater Revival in 1968, the group played it both ways, offering extended, quasi-psychedelic workouts of the '50s classics "I Put a Spell on You" and "Suzie Q." The latter song became their first big hit, but the band didn't really bloom until "Proud Mary," a number-two single in early 1969 that demonstrated John's talent at tapping into Southern roots music and imagery with a natural ease. It was the start of a torrent of classic hits from the gritty, Little Richard-inspired singer over the next two years, including "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Who'll Stop the Rain," "Up Around the Bend," and "Lookin' Out My Back Door."
At a time when rock was evolving further and further away from the forces that had made the music possible in the first place, Creedence Clearwater Revival brought things back to their roots with their concise synthesis of rockabilly, swamp pop, R&B, and country. Though CCR was very much a group in their tight, punchy arrangements, their vision was very much singer, songwriter, guitarist, and leader John Fogerty's. Fogerty's classic compositions for Creedence both evoked enduring images of Americana and reflected burning social issues of the day. The band's genius was their ability to accomplish this with the economic, primal power of a classic rockabilly ensemble.
The key elements of Creedence had been woodshedding in bar bands for about a decade before their breakthrough to national success in the late '60s. John's older brother Tom formed the Blue Velvets in the late '50s in El Cerrito, CA, a tiny suburb across the bay from San Francisco. By the mid-'60s, with a few hopelessly obscure recordings under their belt, they'd signed to Fantasy, releasing several singles as the Golliwogs that went nowhere. In fact, there's little promise to be found on those early efforts, primarily because Tom, not John, was doing most of the singing. The group only found themselves when John took firm reigns over the band's direction, singing and writing virtually all of their material.
On their first album as Creedence Clearwater Revival in 1968, the group played it both ways, offering extended, quasi-psychedelic workouts of the '50s classics "I Put a Spell on You" and "Suzie Q." The latter song became their first big hit, but the band didn't really bloom until "Proud Mary," a number-two single in early 1969 that demonstrated John's talent at tapping into Southern roots music and imagery with a natural ease. It was the start of a torrent of classic hits from the gritty, Little Richard-inspired singer over the next two years, including "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Who'll Stop the Rain," "Up Around the Bend," and "Lookin' Out My Back Door."
Wednesday, January 28, 2009
Brainbuster Question of the Day for Wed, Jan. 28th, '09
Q: Residents of which state got their nickname from the tar seeping out of the ground that became a major product of the state?
A: NORTH CAROLINA "tarheels"
A: NORTH CAROLINA "tarheels"
Tuesday, January 27, 2009
Brainbuster Question of the Day for Tue, Jan. 27th, '09
Q: When he graduated from high school in 1917, he chose journalism instead of college and spent seven months as a newspaper reporter. While driving a Red Cross ambulance in Italy in 1918 he was severely wounded by shrapnel. Who was he?
A: ERNEST HEMINGWAY
A: ERNEST HEMINGWAY
Friday, January 23, 2009
Thursday, January 22, 2009
Brainbuster Question of the day for Thu, Jan. 22nd, '09
Q: Britain's highest military award, given for conspicuous valor, is named after a queen. What is it?
A: VICTORIA CROSS
A: VICTORIA CROSS
Wednesday, January 21, 2009
Brainbuster Question of the Day for Wed, Jan. 21st, '09
Q: Which island in the Caribbean Sea lies closest to South America?
A: TRINIDAD
A: TRINIDAD
Wednesday, January 14, 2009
Sensational '70's Tune for Wed, Jan. 14th, '09
A number 6 hit for the Hollies in June of 1974:
If there was one song that accurately conveyed the depression and melancholy of the early-'70s post- Woodstock malaise, it was this song. Moving like an almost Broadway-inspired ballad, the feeling of weariness and fatigue is palpable. Hazlewood's use of minor-key, almost folksy changes is nothing revolutionary, but his blending of the melody is full of craft. The lyrics are about being lost in love, with more than a hint of depression. The Hollies' recorded version provided that group with a much-needed early-'70s stateside hit. Hazelwood went on to work with Van Dyke Parks on his Orange Crate Art album, with Brian Wilson.
If there was one song that accurately conveyed the depression and melancholy of the early-'70s post- Woodstock malaise, it was this song. Moving like an almost Broadway-inspired ballad, the feeling of weariness and fatigue is palpable. Hazlewood's use of minor-key, almost folksy changes is nothing revolutionary, but his blending of the melody is full of craft. The lyrics are about being lost in love, with more than a hint of depression. The Hollies' recorded version provided that group with a much-needed early-'70s stateside hit. Hazelwood went on to work with Van Dyke Parks on his Orange Crate Art album, with Brian Wilson.
Tuesday, January 13, 2009
Brainbuster Question of the Day for Tue, Jan. 13th, '09
Q: Which objects, being collected for about a year by millions of kids and adults, have been called "the hottest collectible products in several generations"?
A: 50 STATES COMMEMORATIVE COINS
A: 50 STATES COMMEMORATIVE COINS
Monday, January 12, 2009
Come See Us Wednesday Night !!
FISHING LINE AND OUTDOOR RADIO SHOW BROADCASTS LIVE
at the Chicago Boat, RV and Outdoor Show at McCormick Place
January 14 from 6:30 to 7:30 PM
COME TO THE BOAT SHOW AND JOIN US!!
Listen to WCSJ for FREE Tickets and Special Promotions for Overnight Stays Downtown During the Show.
I will be there as well, serving as the "Engineer" for the live broadcast!
Brainbuster Question of the Day for Mon, Jan. 12th, '09
Q: Which person selected the location which later became the District of Columbia (by act of Congress in 1790)?
A: GEORGE WASHINGTON
A: GEORGE WASHINGTON
Friday, January 9, 2009
Brainbuster Question of the day for Fri, Jan. 9th, '09
Q: What product did the Grey Poupon company begin producing in 1777? (2 words)
A: DIJON MUSTARD
A: DIJON MUSTARD
Sensational '70's Tune for Fri, Jan. 9th, '09
A Number 30 hit for Jimmy Buffett in the summer of '74:
Although A White Sport Coat And A Pink Crustacean acquainted audiences with Jimmy Buffet’s whimsical style and aloof sense of humor, the album itself failed to chart, so he went back to the studio a year later and recorded Living And Dying In 3/4 Time. The album launched Buffet’s first hit single in "Come Monday", a delightful and mature sounding love song that is one of the few of its type in Buffet’s repertoire. Its attractiveness is attained mainly by Buffet’s smooth, serene voice which sounds remarkably rich, and the song’s production work is wonderfully full and lush throughout. The track opens up with some delicate string work that’s quickly joined by the lonely twang of a steel guitar, all of which lead up to a destitute sounding Buffet who sounds convincingly honest as he goes on about how he misses his girl. Believe it or not, there’s no references to cheeseburgers, salt shakers, mustaches, or fruity drinks...just a pleasant melody, earnest vocals, and a casual, laid-back tempo to see it through. "Come Monday" received some minor air play on country radio stations upon its release, but it went on to net Buffet his first Top 40 single on the pop charts, peaking at number 30 in the summer of 1974. A year later, Buffet formed his Coral Reefer Band and began his run of songs about living the tropical, carefree lifestyle. Three years after "Come Monday", Jimmy Buffet scored his highest single with "Margaritaville", which eventually cracked the Top 10 and peaked at number 8.
Although A White Sport Coat And A Pink Crustacean acquainted audiences with Jimmy Buffet’s whimsical style and aloof sense of humor, the album itself failed to chart, so he went back to the studio a year later and recorded Living And Dying In 3/4 Time. The album launched Buffet’s first hit single in "Come Monday", a delightful and mature sounding love song that is one of the few of its type in Buffet’s repertoire. Its attractiveness is attained mainly by Buffet’s smooth, serene voice which sounds remarkably rich, and the song’s production work is wonderfully full and lush throughout. The track opens up with some delicate string work that’s quickly joined by the lonely twang of a steel guitar, all of which lead up to a destitute sounding Buffet who sounds convincingly honest as he goes on about how he misses his girl. Believe it or not, there’s no references to cheeseburgers, salt shakers, mustaches, or fruity drinks...just a pleasant melody, earnest vocals, and a casual, laid-back tempo to see it through. "Come Monday" received some minor air play on country radio stations upon its release, but it went on to net Buffet his first Top 40 single on the pop charts, peaking at number 30 in the summer of 1974. A year later, Buffet formed his Coral Reefer Band and began his run of songs about living the tropical, carefree lifestyle. Three years after "Come Monday", Jimmy Buffet scored his highest single with "Margaritaville", which eventually cracked the Top 10 and peaked at number 8.
Thursday, January 8, 2009
Happy Birthday Elvis !!
Today marks the 74th Birthday of the King of Rock 'n' Roll !
A tribute to Elvis Presley for his 74th birthday! The song done by his daughter Lisa Marie Presley "Nobody Noticed It."
A tribute to Elvis Presley for his 74th birthday! The song done by his daughter Lisa Marie Presley "Nobody Noticed It."
Brainbuster Question of the day for Thu, Jan. 8th, '09
Q: This entertainer, born in 1911, earned four stars on the Hollywood Walk of Fame: one each for radio, television, movies, and records. He is a member of the Country Music Hall of Fame as well as the Cowboy Hall of Fame. Who is he?
A: ROY ROGERS
A: ROY ROGERS
Sensational '70's Tune for Thu, Jan. 8th, '09
A Number 9 hit for Bobby Caldwell in 1979:
Bobby Caldwell met producer/publisher/manager Henry Marx in 1976, when Marx was a staff producer at an independent record company. One of Marx's acts, singer Donny Gerrard (lead vocalist on Skylark's "Wildflower"), covered one of Caldwell's songs. In 1979, Caldwell signed with Henry Stone's Hialeah, FL-based TK Records, recording on their Clouds label. It seemed an odd signing at the time as the label was the home of million-selling disco hitmakers KC and the Sunshine Band, and Caldwell was a jazzy, romantic balladeer. TK also struck gold with Anita Bell's "Ring My Bell" (a platinum-selling cover by Jazzy Jeff and the Fresh Prince in 1992), George McCrae's "Rock Your Baby," his wife Gwen McCrae's "Rockin' Chair," rock group Foxy's "Get Off," Latimore's "Let's Straighten It Out," and Jimmy Bo Horne's "Let's Dance Across the Floor." Around the time of the signing, Caldwell asked Marx to become his manager. The two went on a 14-month, 200,000-mile national promotional tour. The resultant airplay began to generate listener phone response and retail sales took both his first album, Bobby Caldwell, and the single, "What You Won't Do for Love," to platinum status in the United States and Japan. The track was a Top Ten hit on both the R&B and pop charts. The follow-up singles, "Can't Say Goodbye" and "My Flame," were both Top 40 R&B hits. During the '90s, Caldwell and Marx formed the Sindrome label with Caldwell becoming a smooth jazz radio favorite.
Bobby Caldwell met producer/publisher/manager Henry Marx in 1976, when Marx was a staff producer at an independent record company. One of Marx's acts, singer Donny Gerrard (lead vocalist on Skylark's "Wildflower"), covered one of Caldwell's songs. In 1979, Caldwell signed with Henry Stone's Hialeah, FL-based TK Records, recording on their Clouds label. It seemed an odd signing at the time as the label was the home of million-selling disco hitmakers KC and the Sunshine Band, and Caldwell was a jazzy, romantic balladeer. TK also struck gold with Anita Bell's "Ring My Bell" (a platinum-selling cover by Jazzy Jeff and the Fresh Prince in 1992), George McCrae's "Rock Your Baby," his wife Gwen McCrae's "Rockin' Chair," rock group Foxy's "Get Off," Latimore's "Let's Straighten It Out," and Jimmy Bo Horne's "Let's Dance Across the Floor." Around the time of the signing, Caldwell asked Marx to become his manager. The two went on a 14-month, 200,000-mile national promotional tour. The resultant airplay began to generate listener phone response and retail sales took both his first album, Bobby Caldwell, and the single, "What You Won't Do for Love," to platinum status in the United States and Japan. The track was a Top Ten hit on both the R&B and pop charts. The follow-up singles, "Can't Say Goodbye" and "My Flame," were both Top 40 R&B hits. During the '90s, Caldwell and Marx formed the Sindrome label with Caldwell becoming a smooth jazz radio favorite.
Wednesday, January 7, 2009
Brainbuster Question of the Day for Wed, Jan. 7th, '09
Q: Which song features the words, "Newspaper taxis appear on the shore"?
A: LUCY IN THE SKY WITH DIAMONDS
A: LUCY IN THE SKY WITH DIAMONDS
Tuesday, January 6, 2009
Brainbuster Question of the Day for Tue, Jan. 6th, '09
Q: Can you name the author and main character of the popular 1950s novel about a sensitive but rebellious youth who runs away from his boarding school, The Catcher in the Rye ?
A: J.D. SALINGER / HOLDEN CAULFIELD
A: J.D. SALINGER / HOLDEN CAULFIELD
Monday, January 5, 2009
Brainbuster Question of the Day for Mon, Jan 5th, '08
Q: Can you name two animated Disney films, in one of which the title animal's father dies (1994), the other the title animal's mother dies (1942)?
A: LION KING / BAMBI
A: LION KING / BAMBI
Friday, January 2, 2009
Brainbuster Question of the day for Fri, Jan 2nd, '09
Q: In which 1992 sports film did Tom Hanks play the role of an overweight, obnoxious drunk?
A: A LEAGUE OF THEIR OWN
A: A LEAGUE OF THEIR OWN
Sensational '70's Tune for Jan, 2nd, '09
Best remembered for her number one R&B hit "Rockin' Chair" from 1975, Gwen McCrae was a gutsy Southern soul diva with a particular affinity for dance tracks. Along with her husband George ("Rock Your Baby"), Gwen was part of the Miami-based T.K. Records stable, which laid a great deal of groundwork for the disco explosion. Born Gwen Mosley in Pensacola, FL, in 1943, she grew up singing in her Pentecostal church and later discovered secular singers like Sam Cooke and Aretha Franklin. She began performing in local clubs as a teenager, also singing with local groups like the Lafayettes and the Independents. In 1963, she met a young Navy sailor named George McCrae, whom she married within a week. When George was discharged, he re-formed an earlier group he'd sung with called the Jivin' Jets, and invited Gwen to join as well. Soon, however, George and Gwen split off to form a duo -- aptly dubbed George & Gwen -- and moved to West Palm Beach to perform in clubs all over South Florida.
George & Gwen were discovered in 1967 by singer Betty Wright, who helped get them signed to Henry Stone's Alston label. Their debut single, "Three Hearts in a Tangle," was released in 1969; the follow-up, "Like Yesterday Our Love Is Gone," marked the first time they worked with the writing team of Clarence Reid (who would later morph into the bawdy comic Blowfly) and Willie Clarke. Both were regional hits, as was third single, "No One Left to Come Home," although none of those records broke nationally; meanwhile, the McCraes and Wright were collectively earning a reputation as stellar session vocalists. In 1970, one of Gwen's solo recordings, the Bobby "Blue" Bland cover "Lead Me On," was picked up by Columbia and became her first Top 40 hit on the R&B charts. In the wake of that breakthrough, George temporarily retired from singing to become her manager, and Alston leased her contract to Columbia; she recorded several more singles over the next few years, but without comparable chart success.
Columbia declined to renew McCrae's contract in 1973, and she was signed to a different Henry Stone label, the T.K. subsidiary Cat. She had a regional hit with "He Keeps Something Groovy Goin' On" that year, and then her second national hit with the R&B Top 20 "For Your Love" (originally recorded by Ed Townsend). However, her minor 1974 hit "It's Worth the Hurt" was overshadowed by George's across-the-board smash "Rock Your Baby," a song originally intended for Gwen that heralded disco's arrival on the pop charts. It was Gwen's turn in the spotlight the following year, when she took the sexy Reid/Clarke composition "Rockin' Chair" all the way to the top of the R&B charts, not to mention the pop Top Ten. In the wake of its success, McCrae released her first-ever album (also called Rockin' Chair) and scored further R&B hits with "Love Insurance" and "Cradle of Love."
By this time, the separate successes were taking their toll on the McCraes' marriage (Gwen has since alleged that her husband beat her frequently). A 1976 duet single, "Winners Together, Losers Apart," fell short of the R&B Top 40, and a full album of duets failed to assuage matters. The couple split later that year, and Gwen scored what turned out to be her last chart hit for Cat, "Damn Right It's Good." Despite a fine effort with the 1978 LP Let's Straighten It Out, McCrae's commercial momentum was stalled, and although 1979's "All This Love That I'm Giving" later became a favorite on Britain's Northern soul scene, it didn't attract much attention upon its release. With the T.K. label family in serious financial trouble, McCrae moved to New Jersey and signed with Atlantic in 1980, a stint that produced two albums (Gwen McCrae and On My Way) and several chart singles still prized by collectors: "Funky Sensation," "Poyson," and "Keep the Fire Burning." Feeling underpromoted, McCrae moved back to Florida, cut a one-off single for the small Black Jack label in 1984 called "Do You Know What I Mean," and retired from the music business.
McCrae was rediscovered by the British Northern soul and rare groove scenes during the '80s, and she traveled to England to record a couple of singles for Rhythm King in 1987. Pleased with her enduring popularity in the U.K., McCrae eventually recorded an entire album for the British Homegrown label in 1996, titled Girlfriend's Boyfriend. Upon returning to America, she signed with the revived Goldwax label, distributed by Ichiban, and recorded another album later that year, Psychic Hot Line. In 1998, Ichiban reissued Girlfriend's Boyfriend in the U.S. McCrae returned in 1999 with Still Rockin', which received favorable reviews in blues and classic soul circles.
Thursday, January 1, 2009
A Happy New Year for sports fans !!
For the Sports fan in everyone, a couple of neat opportunities to catch some historic events on the tube while recuperating or still reveling in the New Year's festivities:
Click on the links below to find out more !!
http://www.nhl.com/ice/eventhome.htm?location=/winterclassic/2009
Check it out @ noon on NBC then after that tune in @ 5 pm to Comcast channel 410 or Direct TV channel 213 for this:
http://mlbnetwork.mlb.com/network/index.jsp
Looking forward to the MLB Network !
Enjoy!
Click on the links below to find out more !!
http://www.nhl.com/ice/eventhome.htm?location=/winterclassic/2009
Check it out @ noon on NBC then after that tune in @ 5 pm to Comcast channel 410 or Direct TV channel 213 for this:
http://mlbnetwork.mlb.com/network/index.jsp
Looking forward to the MLB Network !
Enjoy!
Brainbuster Question of the Day for Thu, Jan 1, '09
Q: Which Japanese technology company was named after the English phrase, Service and Games?
A: SEGA
A: SEGA
A Happy New Year Gift !
For those of you wondering, WCSJ's News Director Jay Capron & his wife, Devin welcomed John William Capron IV, otherwise known as Jack into this world earlier this week.
He weighed in at 7 lbs, 15 oz. and was 20 3/4" long.
Congratulations Devin & Jay !!
He weighed in at 7 lbs, 15 oz. and was 20 3/4" long.
Congratulations Devin & Jay !!
Sensational '70's Tune for Thu, Jan 1, '09
#1 on New Years Day 1977:
Though it shares a title with Neil Young's stark and harrowing cautionary tale, Rod Stewart's "Tonight's the Night" is a whole different case altogether. A lush and undeniably sultry come-on to a "virgin child," the song is a pretty good representation of most of the singer/songwriter's influences up to that era, 1976 and the LP A Night on the Town. One can hear a bit of Sam Cooke fronting a Stonesy take on early- to mid-'70s Philly soul -- a sort of more-produced "Fool to Cry." But Hot Rod's song oozes pure wanton desire. His lascivious propositions are aimed at a young girl who seems to be falling under the experienced Lothario's spell: "Don't say a word my virgin child/Just let your inhibitions run wild." His innuendo is none too subtle -- "Spread your wings and let me come inside." Hold on, my glasses are getting foggy.
Musically, the piece just flows and sounds good and fat in the way that only those mid-'70s rock productions do. Guitar lines play in harmony (guitarmony), a technique that some of us are sad to see under-utilized nowadays. The arrangement is nice and easy, with a stellar assembly of A-list sidemen, sounding great on those hot summer nights on AM car radios. After a lovely wistful introduction, the liquid phase shifter guitar parts flow and weave around each other and acoustic guitars, organ, and swelling strings. There is a nice little sax break that makes one think that the song is not actually very far away from the romantic coos of the later, Brian Ferry-led Roxy Music. Where have all the rock & roll ladykillers gone?
Though it shares a title with Neil Young's stark and harrowing cautionary tale, Rod Stewart's "Tonight's the Night" is a whole different case altogether. A lush and undeniably sultry come-on to a "virgin child," the song is a pretty good representation of most of the singer/songwriter's influences up to that era, 1976 and the LP A Night on the Town. One can hear a bit of Sam Cooke fronting a Stonesy take on early- to mid-'70s Philly soul -- a sort of more-produced "Fool to Cry." But Hot Rod's song oozes pure wanton desire. His lascivious propositions are aimed at a young girl who seems to be falling under the experienced Lothario's spell: "Don't say a word my virgin child/Just let your inhibitions run wild." His innuendo is none too subtle -- "Spread your wings and let me come inside." Hold on, my glasses are getting foggy.
Musically, the piece just flows and sounds good and fat in the way that only those mid-'70s rock productions do. Guitar lines play in harmony (guitarmony), a technique that some of us are sad to see under-utilized nowadays. The arrangement is nice and easy, with a stellar assembly of A-list sidemen, sounding great on those hot summer nights on AM car radios. After a lovely wistful introduction, the liquid phase shifter guitar parts flow and weave around each other and acoustic guitars, organ, and swelling strings. There is a nice little sax break that makes one think that the song is not actually very far away from the romantic coos of the later, Brian Ferry-led Roxy Music. Where have all the rock & roll ladykillers gone?
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