***Once Again, When Bop-Bop Bopped In The Doo Wop Night- When Teen Angst Rules The Airwaves

A while back I got caught up, and caught up bad, caught up like in some ragamuffin boyhood corner boy dream sequence forced to live over again forever say ages twelve to sixteen, those hard teen angst, teen alienation dark nights, hell just say teen and let that stand for itself, in the girl group doo wop night (or that is what I prefer to call it anyway, the doo wop part can stand in any case) and mentioned that I had a hard time, a really hard time, relating to girl groups. No, not that they could not doo wop with the guys, Christ, half, more than half the time, they were better than the guys. Think of those great Shirelles numbers, stuff like Baby, It’s Youof blessed memory and total recall lyrics remembrance (unlike a lot of other stuff today, for example, where did I put my glasses) that came exploding off the charts.

No, my problem, my mostly girl-less teenage alienation, teen angst, teen guy couldn’t figure out girls problem, was the lyrics of most of the songs. Songs filled with lines about longing for long gone (and never coming back) Eddie, songs about parents forcing young love out the door when it involved the leader of the pack, some easy rider motorcycle hero, or wistfulness about whether true love would survive the night, a night when she, maybe a little drunk, maybe a lot drunk on that cheap rotgut Southern Comfort (no reefer madness then, not in my neighborhood anyway, maybe down the way with the low rider, easy rider motorcycle guys and their red hot mamas though) and let that Eddie go just a little too far, and was worried about tomorrow night (and the talk in the girls’ “lav” come before school Monday morning). Or even such lowly concerns as the fact that one’s boyfriend was back, or that one had reclaimed an old boyfriend and made some other teenage girl miserable, miserable waiting at the midnight phone, still waiting now maybe. You know, girlish concerns, girlish giggle concerns not fit for serious teenage boy angst ears.

Not so though with the doo wop guys, slow, or as what I have in mind here those up-tempo tunes. Here the reverse is true, well, somewhat true. Although many times girl-less I could relate to such lyrical problems as two-timing mamas, fickle girls trying to decide between Johnny and Jimmy, girls, conspiring, yes, conspiring, and I will provide notarized proof upon request, to break up Susie and Bobby so Laura can have a shot at the lad. Such were the treacheries of the teen life, the 1950s teen life American-style (although I suspect, without notarized proof here, that this stuff rings a bell for today’s teen X, Y, Z or whatever nation, via Facebook convenience, they hail from).

That said all that is left is to figure out the stick-outs from that up-tempo doo wop genre , and there were many, some verily classics of the genre of the up-tempo doo wop night: Get A Job (first, ma says it at about twelve or thirteen to help out with household expenses in working poor times, then girlfriend says it at about sixteen or seventeen so you have some dough to spend on her, some drive-in movie, drive-in restaurant, amusement park, carnival dough and extra for those big sad floppy Christmas, birthday and Valentine’s day gifts, jesus, then wife says it at about twenty-five or six, for that little white cottage, complete with picket fence, dog and a stray child or two, okay we get it, yes, get a job): The Silhouettes; Gee (great harmonics, although the lyrics are, ah, gee, a little light), The Crows; Blue Moon(an old time Tin Pan Alley tune that cries out for this treatment, and a big old full moon to croon under), The Marcels; Little Star (wistful, guy version), The Elegants; Step By Step (sensible approach to a relationship, if you can do it, most teens just forget it), The Crests; and,Come Go With Me (yes, please do), The Del-Vikings.

Note: I have to make a special pitch for Why Do Fools Fall In Love?by Frankie Lymon and the Teenagers, the max daddy of the bop-doo wop night and the voice that basically made it all possible for all those groups, all those big city corner boy (and girl) groups, to partake of the rock scene and some fame. When my best elementary school friend, Billie, William James Bradley, king of the neighborhood rock night and a pretty good budding rock singer, first heard this song I thought he was going to go crazy. He had us doo-wopping that thing all one summer when we were hanging out in back of the school. And guess what? That song (and a couple of others) had the girls, a couple at first, then a few more, then a bevy (nice word, right) all coming around and getting all moony and swoony. And kept this writer from being girl-less, for a while anyway. Thanks, Frankie.

From The Pen Of Joshua Lawrence Breslin- When Girls Doo-Wopped In The Be-Bop 1960s Night, Take Two

 


I have, of late, been running back over some rock material that formed my coming of age listening music (on that ubiquitous, and very personal, iPod, oops, battery-driven transistor radio that kept those snooping parents out in the dark, clueless, and just fine, agreed), and that of my generation, the generation of ’68. Naturally one had to pay homage to the blues influences from the likes of Muddy Waters, Big Mama Thornton, and Big Joe Turner. And, of course, the rockabilly influences from Elvis, Carl Perkins, Wanda Jackson, and Jerry Lee Lewis on. Additionally, I have spent some time on the male side of the doo wop be-bop Saturday night led by Frankie Lymon and the Teenagers on Why Do Fools Fall In Love? (good question, right). I note that I have not done much with the female side of the doo wop night, the great ‘girl groups’ that had their heyday in the late 1950s and early 1960s before the British invasion, among other things, changed our tastes in popular music. I make some amends for that omission here.

One problem with the girl groups for a guy, me, a serious rock guy, me, is that the lyrics for many of the girl group songs, frankly, did not “speak to me.” After all how much empathy could a young ragamuffin of boy brought up on the wrong side of the tracks like this writer have for a girl who breaks a guy's heart after leading him on, yes, leading him on, just because her big bruiser of a boyfriend is coming back and she needs some excuse to brush the heartbroken lad off in the Angels' My Boyfriend’s Back. Or some lucky guy, some lucky Sunday guy, who breathlessly catches the eye of the singer in the Shirelles' Met Him On Sunday from a guy who, dateless Saturday night, was hunched over some misbegotten book, some study book, on Sunday feeling all dejected. And how about this, some two, or maybe, three-timing gal who berated her ever-loving boyfriend because she needs a good talking to, or worst, a politically incorrect "beating" in Joanie Sommers’ Johnny Get Angry.

So you get the idea, this stuff could not “speak to me.” Now you understand, right? Except, surprise, surprise foolish, behind the eight- ball, know-nothing youthful guy had it all wrong and should have been listening, and listening like crazy, to these lyrics because, brothers and sisters, they held the key to what was what about what was on girls’ minds back in the day, and maybe now a little too, and if I could have decoded this I would have had, well, the beginning of knowledge, girl knowledge. Damn. But that is one of the virtues, and maybe the only virtue of age. Yah, and also get this- you had better get your do-lang, do-lang, your shoop, shoop, and your best be-bop, be-bop into that good night voice out and sing along to the lyrics here. This, fellow baby-boomers, was our teen angst, teen alienation, teen love youth and now this stuff sounds great.

 

 

From The Pen Of Joshua Lawrence Breslin-When Girls Doo-Wopped In The Be-Bop 1960s Night

Jess Barker, Jess Barker, Junior to separate out the generations correctly, very correctly when talking about musical tastes, a subject over which more wars that international ones have been fought, mostly bloodless, but sometimes a close thing, mainly around that classic battle between sober, sane, and profound parent music and wild, pagan, decadent children music, name the generational conflict, but the present one is centered on the staid 1950s Perry Como, Patti Page, Frank Sinatra, and their gang versus sexy, silky, make the women wet Elvis, riffing Chuck Berry, manic Jerry Lee Lewis, and their progeny, specifically those doo wop singers who filled the gap after Elvis died (or might as well have fleeing in the night to the U.S. Army), Chuck got caught with one of Mister’s woman, also in the night, and Jerry Lee got caught playing kissing cousin games, maybe day and night. Jess had of late, after dusting off some attic boxes filled with 45 RPM records and LPs and his old teenage days record player in preparation for readying his father’s house, his late father’s house, for sale, been running back over some material that formed his coming of age listening music (on that ubiquitous, and very personal battery-driven transistor radio that kept those snooping parents out in the dark, clueless, and just fine, all agreed), and that of his generation, the generation of ’68.

Naturally back in those days, especially on the days, nights, late Sunday nights really, when he was able through some inexplicable airwave magic to receive Mr. Lee’s Midnight Blues Show from the wilds of Chicago, one had to pay homage to the blues influences on rock and roll from the likes of Muddy Waters (think Mannish Child), Big Mama Thornton(think the original fired-up Hound Dog not Elvis’ misspent version), and Big Joe Turner (think, accept no imitation, Shake, Rattle and Roll) And, of course, also the rockabilly influences on rock from Elvis (think Good Rock’ Tonight), Carl Perkins (think Blue Suede Shoes), Wanda Jackson (think Let’s Have A Party), Jerry Lee Lewis (think Breathless along with about twelve other classics of the genre), and perhaps the most influential of all, of Warren Smith’s Rock and Roll Ruby.

He had as well spent some time on the male side of the doo wop be-bop Saturday night led by Frankie Lymon and the Teenagers on Why Do Fools Fall In Love? (a good question, he chuckled to himself as he fell into memory working through the lyrics of that one) backed up by The Falcons’ You’re So Fine. After taking stock of his old time tastes he noted that he had not done much with the female side of the doo wop night, the great girl doo wop groups that had their heyday in the late 1950s and early 1960s before the British invasion, among other things, changed his generation’s tastes in popular music. He had meant to make some amends for that omission but found a certain stumbling block in the way, the “speak to” issue, then and now.

One problem with the doo wop girl groups for a guy, as Jess thought to himself on that question, a serious rock guy was that the lyrics for many of the girl group songs, frankly, did not “speak” to him. After all how much empathy could a young ragamuffin of a boy brought up on the wrong side of the tracks (in the very small too cramped for five people faded house that held that treasure trove of memories) like Jess for a girl who broke up with her boyfriend, a motorcycle guy, a sensitive motorcycle guy, on her parents’ demand because of his lower class upbringing as the lyrics in the Shangri-Las’ Leader of the Pack attest to. He remembered that he blushed every time it was played on the jukebox over at Doc’s Drugstore, the local hang-out for after school be-boppers, or those like him who wanted to be-bop. Except, see, she should have stuck with her guy through thick and thin, and maybe, just maybe, he would not have skidded off that rainy road and gone to Harley heaven so young. And, maybe, just maybe, they could be in that little white house with the picket fence, Harley out in the garage needing little work, a little washing too, hosting angelic grandkids today.

Try this one, as added ammunition for Jess’s plea, the lyrics about some guy, some sensitive, shy, good-looking guy, a guy with wavy hair who all the girls were going crazy over but who the singer was going make her very own in the boy and girl love battle in the Cliffons’ He’s So Fine when Jess was nothing but a girl reject, mainly. He blushed again as he remembered back to the time when he asked Laura, school fox Laura, out on a date based on some common discussion of the lyrics at Doc’s and in a moment of bravado blurted out his request. She just smirked, and said her boyfriend, her football- playing boyfriend, would frown on that request. He immediately backed off and returned to his wanna-be be-bop shell once he heard that bad news.

Or how about this one, the one where the love bugs were going to be married and really get that white house picket fence thing in the Dixie Cups’ Chapel Of Love for a guy who, more often than not, didn’t even have steady girlfriend. Jess, a kiss-less youth, would never even get into, would not even make the cut, on the part of the anatomy that Betty Everett harped on in Its In His Kiss. Or, finally, how could Jess possibly relate to the teen girl angst problem, the very real “what if I get pregnant if I do it” in the barely “the pill” knowledge night posed in the Shirelles’ Will You Still Love Me Tomorrow? Yah, how would Jess know if it was the real thing, or just a moment’s pleasure, and what that dreaded tomorrow they sing about would bring.

So you get the idea of Jess’ problem, this stuff, this girl chatter in the Monday morning before school girls’ “lav” what did, and did not happen on Friday and Saturday with Jimmy down at the seashore, over at the back seat drive-in theater, or the payback after a big splurge at Mel’s Drive-In restaurant could not “speak” to him. Now you understand, right? Yah, but also get, and get this is straight, straight from Jess Barker, Junior, you had better get your do-lang, do-lang, your shoop, shoop, shoop and your best be-bop bopped into that good night voice out and listen to, and sing along with, the lyrics to those great girl doo wop girl groups. This, fellow baby-boomers, was about our teen angst, our teen alienation, our teen love youth traumas and now, a distant now, this stuff sounds great.

Once Again, When Be-Bop Bopped In The Doo Wop Night-Billie’s Doo-Wop Minute

Click on the headline to link to a YouTube film clip of the Harptones performing Life Is But A Dream.

Sure I have plenty to say, as I mentioned in a review of Volume One of a two- volume Street Corner Serenade set, about early rock ‘n’ roll, and now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough considering its effect on us, on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standards, but get this, you could place it near your ear and have your own private out loud music without parental scuffling in the background no-ing you to dead, or worst with the big scowl. Yes, heaven's door sent, sainted, sanctified techno-guru. No question.

What doo-wop did though down in our old-time beat down, beat around, beat six-ways-to Sunday working class neighborhood (dependent on fading domestic, early globalized ship-building), North Adamsville, and again it was not so much by revelation as by trial and error is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things anyway when papas were out of work, or were one step away from that dreaded unemployment line, and there was trouble just keeping the wolves from the door? Sure, some kids, some kids like my “home boy” (no, not a term we used at the time, corner boy was after some sociologist nailed us with that title, and jack-rollers too, since we, ah, hung around corners, you know, mom and pop variety stores, pizza parlors, arcades, donut shops, corner drugstores when all of those locations had local meaning) elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers on Why Do Fools Fall In Love was mad to do the doo-wop and make his fame and fortune on the cheap.

I remember mentioning to someone when we were cutting up old torches once seeing some cover art on a doo-wop  CD compilation showing  a group of young black kids, black teen-agers, black guys anyway, who looked like they were doing their doo- wop on some big city street corner. (Corner boys too, okay, although they may have actually used that homeboy expression among themselves.) And that makes sense reflecting the New York City-sized, big city-sized derived birth of doo-wop and that the majority of doo-wop groups that we heard on AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope to be discovered and make more than just a 1950s rock and roll musical jail-breakout from musty old parents’ tunes. Moreover, that cover art also showed, and showed vividly, what a lot of us guys were trying to do-impress girls (and maybe visa-versa for girl doo-woppers but they can tell their own stories).

Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you guys did too (except girls just switch around what I just said). Yah, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do it, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. What do you think we would do? We knew nothing of keys and pauses, of time, pitch, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key, voice on the low.)

Whether we did it well or poorly, guess what, as the hot day turned into humid night, and the old sun went down just over the hills, maybe the sea freshen up the night with a thank god breeze, first a couple of girls, kind of hesitant, kind of shy led, led usually, by some budding Billie-entranced girl too afraid to come alone, then a couple more maybe from down the street, non-Billie-entranced, but just what are guys all about wondering in that good night, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. (Read: hoping that the lyrics doo-wopped portended romance, or whatever it was they read in those girl magazines that Doc’s Drugstore could not keep enough of in stock.) And swoony and moony was just fine. Just fine with what- are- girls- all- about Billie-led corner boys (and in Harlem, South Side Chicago, Watts, East Los Angeles and about then thousand spots on this jail break-out ready continent too).

And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the classic songs of doo-wop like Your So Fine, In The Still Of The Night, and Could This Be Magic could be heard in that airless night.

I think, that like in other genres, there were really only so many doo-wop songs sung on those sultry nights that have withstood the test of time, the Billie-derived play list test of time : Life Is But A Dream (which with my voice really changing I kept very, very low on), The Harptones; Gloria (a little louder from me on this one), The Cadillacs; Six Nights A Week (not their best 16 Candles was but by then Billie was into other stuff), The Crests: and, A Kiss From Your Lips, The Flamingos.

Once Again, When Be-Bop Bopped In The Doo-Wop Night-Billie’s Doo-Wop Minute

 

Click on the headline to link to a YouTube film clip of the Harptones performing Life Is But A Dream.

Sure I have plenty to say, as I mentioned in a review of Volume One of a two volume Street Corner Serenade set, about early rock ‘n’ roll, and now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough, considering its effect on us on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standards, but get this, you could place it near your ear and have your own private out loud without parental scuffling in the background. Yes, sainted, sanctified techno-guru. No question.

What doo-wop did though down in our old-time working class neighborhood, and again it was not so much by revelation as by trial and error is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things when papas were out of work, or were one step away from that dreaded unemployment line, and there was trouble just keeping the wolves from the door? Sure, some kids, some kids like my “home boy” (no, not a term we used at the time) elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers on Why Do Fools Fall In Love was mad to do the doo-wop and make his fame and fortune.

I remember mentioning once seeing some cover art on a doo-wop  compilation showing  a group of young black kids, black guys, who look like they are doing their doo- wop on some big city street corner. And that makes sense reflecting the New York City-derived birth of doo-wop and that the majority of doo-wop groups that we heard on AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope to be discovered and make more than just a 1950s musical jail-breakout. Moreover, that cover art also showed, and showed vividly, what a lot of us guys were trying to do-impress girls (and maybe visa-versa for girl doo-woppers but they can tell their own stories).

Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you did too (except girls just switch around what I just said). Yah, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do it, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. What do you think we would do? We knew nothing of keys and pauses, of time, pitch, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key, voice on the low.) Whether we did it well or poorly, guess what, as the hot day turned into humid night, and the old sun went down just over the hills, first a couple of girls, then a couple more, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. And swoony and moony was just fine.

And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the classic songs of doo-wop could be heard in that airless night.

I think, that like in other genres, there were really only so many doo-wop songs that have withstood the test of time, the Billie-derived play list test of time : Life Is But A Dream (which with my voice really changing I kept very, very low on), The Harptones; Gloria (a little louder from me on this one), The Cadillacs; Six Nights A Week (not their best 16 Candles was but by then Billie was into other stuff), The Crests: and, A Kiss From Your Lips, The Flamingos.

 

***Out In The Be-Bop Doo Wop Night- When Lady Bop Doo Wopped

***Out In The Be-Bop Doo Wop Night- When Lady Bop Doo Wopped

 

Click on the headline to link to a YouTube film clip of The Charts performing Deserie.

CD Review

25 Vocal Groups Sing About “The Great Ladies Of Doo Wop”, various artists, Collectibles Records Corp., 2002

Jack Fitzgerald thought about it for a while, a long while, before he approached the other guys, the other corner boy guys, junior varsity division, but not in that division when it came to singing, singing harmonic rock stuff, yes, doo wop stuff. They were ready to turn big time, well, local big time anyway. And here is where Jack’s thinking was headed, but wait a minute, maybe some things should be mentioned first. Well, first when the word corner boy comes on the horizon most people think about young male teenage boys, white or black, hell, Hispanic too if you lived in the cities, the big melting-pot cities not cities like Clintondale, a strictly white-bread city, mainly Irish like Jack, with a mix of Italians, or as Lenny, Lenny Smith, one of Jack’s corner boys liked to say Eye-talians. All very much Catholic, very high-roller Roman Catholic, not those off-shoot Orthodox guys who split early on from the real church and got crazy with their ritual stuff. Maybe a few protestant white-breads too left over from the days when Clintondale produced presidents, ran revolutions, and caused holy hell for old mother, England.

But whatever the ethnic identity code, teenage boys clad in white tee-shirts (no vee-necks need apply those are for old grandpa guys, old grandpa railroad guys maybe), blue jeans, work boots, but they better be black engineer boots, with buckles, at least they had better be if you want to be a corner boy in Clintondale, and yes, hanging watch fob chain (no, not to tell the time, what is time to a corner boy, but just in case, just in case something comes up and a chain could come in very handy) and yes, for those who could afford such things (or had the guts to “clip” them), a tight waist-sized leather jack, black, against the New England colds, and the offshore winds that blew up, blew up out of nowhere. And Jack, Lenny and Jack’s other corner boys, Benny, Bobby, Billly, Sean, and Larry were, like Jack thought, junior varsity division copies, minus the singing, of that Clintondale corner boy world.

Oh ya, except they, Jack’s they, didn’t have a corner. See, there was no mom and pop variety store, no bowl-a-whirl bowling alley, no Bop’s pool hall, no Bijou movie house, no Doc’s drugstore; you name it no, in all of the Acre section of Clintondale. So boys, corner boys or not, being inventive, or trying to be, “squatted’, squatted out in the back section, the section down by the old-time sailors’ graveyard, of the old Clintondale North Elementary School where they had all just graduated from the sixth grade(called locally, in the neighborhood, the Acre school and everybody knew what school you were talking about). And nobody, no Jimmy’s Smith’s corner boys (Lenny’s older brother), no Acre Low-Riders, the motorcycle-riding corner boys, better come near, or else. Yes, or else, although Jack sometimes worked up a sweat thinking what kind of hell would occur if those older guys decided they wanted to stake a claim to that back section. And definitely no girls, no stick girls, no stick twelve-year old girls unless of course, Jack and The Guys (the name of their budding doo wop group, junior division looking to go big time if you didn’t know) were harmonizing and the girls, the shy and bossy alike, started coming around like lemmings from the sea when the boys started their thing. And that was where the problem was.

No, not what you’d think, as Jack continued thinking about his dilemma. Girls were starting to be okay, very okay, mostly, even when the boys were not doo wopping, if you could believe that, because in fifth grade, just a year ago, generic girls were barred, barred no questions asked, from hell’s little back acre. No, what was on Jack’s mind was break-out. Breaking out of the Acre. And even twelve-year old Jack, twelve-year old corner boy Jack, knew that the only way he, and Lenny and the others, were going to break out was by riding the doo wop wave. And the only way that he could see to ride that wave, was one, by getting a girl singer to give a better balance to the now getting too harsh voice-changing age harmonics. But a girl, one girl, meant trouble and Jack knew deep in his young bones that there would be trouble because the only one who qualified, voice-qualified, looks-qualified, and well, just wanted-her-around qualified, was Lonnie Callahan, Sean’s year older sister. But a bunch of boys, corner boys and one looker- girl spelled trouble, watch-fob chain trouble.

And two, maybe worst trouble, the guys needed an original song, and just then an original song with a girl’s name in it like that longing for Deserie stuff by the Charts, My Juanita by the Crests, Aurelia by the Pelicans, Marlena by the Concords, Linda by the Empires, and Barbara by the The Temptations or some other good girl name song that girls couldn’t get enough of and were buying doo wop 45s of like crazy. See all the names The Guys thought of were girls who they were, individually, looking to make points with and so some girls were going to get the short end of the stick. And the short end of the stick meant they would not be coming like lemmings to the sea to listen to Jack and The Guys do doo wop in the Acre be-bop night. So you can see Jack’s problem. Right?

***Where Have The Girls Gone- When Young Women’s Voices Ruled the Airwaves Before The British Rock Invasion, Circa 1964- Early Girls, Volume Four

***Where Have The Girls Gone- When Young Women’s Voices Ruled the Airwaves Before The British Rock Invasion, Circa 1964

Click on the headline to link to a YouTube film clip of The Cookies performing Don't Say Nothing Bad About My Baby.

Early Girls, Volume Four, various singers, Ace Records , 2005

As I mentioned in a review of a two-volume set of, for lack of a better term, girl doo wop some of the songs which overlaps in this five-volume series, I have, of late, been running back over some rock material that formed my coming of age listening music (on that ubiquitous, and very personal, iPod, oops, battery-driven transistor radio that kept those snooping parents out in the dark, clueless, and that was just fine, agreed), and that of my generation, the generation of ’68. Naturally one had to pay homage to the blues influences from the likes of Muddy Waters, Big Mama Thornton, and Big Joe Turner. And, of course, the rockabilly influences from Elvis, Carl Perkins, Wanda Jackson, and Jerry Lee Lewis on. Additionally, I have spent some time on the male side of the doo wop be-bop Saturday night led by Frankie Lymon and the Teenagers on Why Do Fools Fall In Love? (good question, right). I noted there that I had not done much with the female side of the doo wop night, the great ‘girl’ groups that had their heyday in the late 1950s and early 1960s before the British invasion, among other things, changed our tastes in popular music. I would expand that observation here to include girls’ voices generally. As there, I make some amends for that omission here.

As I also noted in that earlier review one problem with the girl groups, and now with these generic girl vocals for a guy, me, a serious rock guy, me, was that the lyrics for many of the girl group songs, frankly, did not “speak to me.” After all how much empathy could a young ragamuffin of boy brought up on the wrong side of the tracks like this writer have for a girl who breaks a guy's heart after leading him on, yes, leading him on, just because her big bruiser of a boyfriend is coming back and she needs some excuse to brush the heartbroken lad off in the Angels' My Boyfriend’s Back. Or some lucky guy, some lucky Sunday guy, maybe, who breathlessly catches the eye of the singer in the Shirelles' I Met Him On Sunday from a guy who, dateless Saturday night, was hunched over some misbegotten book, some study book, on Sunday feeling all dejected. And how about this, some two, or maybe, three-timing gal who berated her ever-loving boyfriend because she needs a good talking to, or worst, a now socially incorrect, very incorrect and rightly so, "beating" in Joanie Sommers’ Johnny Get Angry.

And reviewing the material in this volume gave me the same flash-back feeling I felt listening to the girl doo wop sounds. I will give similar examples of that teen boy alienation for this volume, and this approach has driven the reviews of all five of these volumes in the series. Dum Dum leaves me with no choice but to be dumb dumb; Sincerely by the McGuire Sisters, hell I would have taken insincerely but just call, call at the midnight waiting phone number and don't say you lost the number, please; Sad Movies (Make Me Cry), alone in the dark, dungeon balcony, girl-less and trying to be tunnel-visioned while around me are all kinds of lips smacking, sighs, and well, you get the picture, okay; It Hurts To Be In Love, you can say in; and The Cookies Don't Say Nothin' Bad (About My Baby), I wish I could have had that choice. I might add here that as we have, with volume four, gone over one hundred songs in this series not only have we worked over, and worked over hard, the “speak to” problem but have now run up against the limits of songs worthy of mention, mention at the time or fifty years later, your choice.

So you get the idea, this stuff could not “speak to me.” Now you understand, right? Except, surprise, surprise foolish, behind the eight- ball, know-nothing youthful guy had it all wrong and should have been listening, and listening like crazy, to these lyrics because, brothers and sisters, they held the key to what was what about what was on girls’ minds back in the day, and maybe now a little too, and if I could have decoded this I would have had, well, the beginning of knowledge, girl knowledge. Damn. But that is one of the virtues, and maybe the only virtue of age. Ya, and also get this- you had better get your do-lang, do-lang, your shoop, shoop, and your best be-bop, be-bop into that good night voice out and sing along to the lyrics here. This, fellow baby-boomers, was our teen angst, teen alienation, teen love youth and now this stuff sounds great.

***Where Have The Girls Gone- When Young Women’s Voices Ruled the Airwaves Before The British Rock Invasion, Circa 1964

***Where Have The Girls Gone- When Young Women’s Voices Ruled the Airwaves Before The British Rock Invasion, Circa 1964

Click on the headline to link to a YouTube film clip of Carla Thomas performing her classic Gee Whiz.

CD Review

Early Girls, Volume Three, various singers, Ace Records , 1997

As I mentioned in a review of a two-volume set of, for lack of a better term, girl doo wop some of the songs which overlap in this six-volume series, I have, of late, been running back over some rock material that formed my coming of age listening music (on that ubiquitous, and very personal, iPod, oops, battery-driven transistor radio that kept those snooping parents out in the dark, clueless, about what I was listening to, and that was just fine, agreed), and that of my generation, the generation of ’68. Naturally one had to pay homage to the blues influences from the likes of Muddy Waters, Big Mama Thornton, and Big Joe Turner. And, of course, the rockabilly influences from Elvis, Carl Perkins, Wanda Jackson, and Jerry Lee Lewis on. Additionally, I have spent some time on the male side of the doo wop be-bop Saturday night led by Frankie Lymon and the Teenagers on Why Do Fools Fall In Love? (good question, right). I noted there that I had not done much with the female side of the doo wop night, the great ‘girl’ groups that had their heyday in the late 1950s and early 1960s before the British invasion, among other things, changed our tastes in popular music. I would expand that observation here to include girls’ voices generally. As there, I make some amends for that omission here.

As I also noted in that earlier review one problem with the girl groups, and now with these generic girl vocals for a guy, me, a serious rock guy, me, was that the lyrics for many of the girl group songs, frankly, did not “speak to me.” After all how much empathy could a young ragamuffin of boy brought up on the wrong side of the tracks like this writer have for a girl who breaks a guy's heart after leading him on, yes, leading him on, just because her big bruiser of a boyfriend is coming back and she needs some excuse to brush the heartbroken lad off in The Angels' My Boyfriend’s Back. Or some lucky guy, some lucky Sunday guy, maybe, who breathlessly catches the eye of the singer in the Shirelles' I Met Him On Sunday from a guy who, dateless Saturday night, was hunched over some misbegotten book, some study book, on Sunday feeling all dejected. And how about this, some two, or maybe, three-timing gal who berated her ever-loving boyfriend because she needs a good talking to, or worst, a now socially incorrect, very incorrect and rightly so, "beating" in Joanie Sommers’ Johnny Get Angry.

And reviewing the material in this volume gave me the same flash-back feeling I felt listening to the girl doo wop sounds. I will give similar examples of that teen boy alienation for this volume, and this approach will drive the reviews of all six of these volumes in the series. For instance the saga of a love-struck girl willing to follow her man, well, okay boy wherever the winds take him in I Will Follow Him by Little Peggy March. Or in one of the endless angels sagas that would make those fighting it out in the heavens in John Miltons’s Paradise Lost blush in Johnny Angel by Shelley Fabares. I will pass Dumb Head by Ginny Arnell except to say that dumb head girls passed me by, by the baskets full. Or how could I relate to the boy-girl eternal thing in Please Love Me Forever by Cathy Jean and The Roommates when I could not get a girl to answer my telephone calls after endless ringing ups (no speed dial, instanto-call then so hard finger work) Or Etta James’ thrill in At Last. Or, speaking of telecommunications, the failure to provide a telephone number, address, or e-mail (oops, no can do in 1950s America) in I'm Available by Margie Rayburn. I am still waiting on that information even as I write. E-mail me, Margie. Or the smaltzy sea air breezes of Miss Patti Page's In Old Cape Cod. Or that whimsical look that Ms. Carla Thomas is giving her guy, or maybe 'guy to be' in Gee Whiz. Or where is my party girl in Party Girl by Bernadette Carroll. Yah, I could relate to Hurt by Timi Yuro, a little but what about boy hurt. And who needs, who needs it at all, to be told for the twelve-thousandth time Ain't Gonna Kiss Ya by Suzie Clark and she means every word of it.

So you get the idea, this stuff could not “speak to me.” Now you understand, right? Except, surprise, surprise foolish, behind the eight- ball, know-nothing youthful guy had it all wrong and should have been listening, and listening like crazy, to these lyrics because, brothers and sisters, they held the key to what was what about what was on girls’ minds back in the day, and maybe now a little too, and if I could have decoded this I would have had, well, the beginning of knowledge, girl knowledge. Damn. But that is one of the virtues, and maybe the only virtue of age. Ya, and also get this- you had better get your do-lang, do-lang, your shoop, shoop, and your best be-bop, be-bop into that good night voice out and sing along to the lyrics here. This, fellow baby-boomers, was our teen angst, teen alienation, teen love youth and now this stuff sounds great. And from girls even.

***Those Oldies But Goodies…Out In The Be-Bop ‘50s Song Night- Billie’s Back- The Crests’ “Step By Step”

Markin comment:

This is the back story, the teen listener back story if you like, going back to the primordial youth time of the mid to late 1950s with its bags full of classic rock songs for the ages. Of course, any such efforts have to include the views of one Billie, William James Bradley, the schoolboy mad-hatter of the 1950s rock jailbreak out in our “the projects” neighborhood. Ya, in those days, unlike during his later fateful wrong turn trajectory days, every kid, including best friend Markin, me, lived to hear what he had to say about any song that came trumpeting over the radio, at least every one that we would recognize as our own.

Billie and I spent many, many hours mainly up in his tiny bedroom, his rock heaven bedroom, walls plastered with posters of Elvis, Bo Diddley, Chuck Berry, somewhat later Jerry Lee Lewis, and of every new teen heartthrob singer, heartthrob to the girls that is, around, on his night table every new record Billie could get his hands on, by hook or by crook, and neatly folded piles of clothing, also gathered by that same hook or by crook, appropriate to the king hell king of the schoolboy rock scene, the elementary school rock scene between about 1956 to 1960. Much of that time was spent discussing the “meaning” of various songs, especially their sexual implications, ah, their mystery of girls-finding-out-about worthiness.

Although in early 1959 my family had started the process of moving out of the projects, and, more importantly, I had begun to move away from Billie’s orbit, his new found orbit as king hell gangster wannabe, I still would wander back there until mid-1960 just to hear his take on whatever music was interesting him at the time. These commentaries, these Billie commentaries, are my recollections of his and my conversations on the song lyrics in this series. But I am not relying on memory alone. During this period we would use my father’s tape recorder, by today’s standard his big old reel to reel monstrosity of a tape recorder, to record Billie’s covers of the then current hit songs (for those who have not read previously of Billie’s “heroics” he was a pretty good budding rock singer at the time) and our conversations of those song meanings that we fretted about for hours. I have, painstakingly, had those reels transcribed so that many of these commentaries will be the actual words spoken during those conversations (somewhat edited, of course). That said, Billie, king hell rock and roll king of the old neighborhood, knew how to call a lyric, and make us laugh to boot. Wherever you are Billie I’m still pulling for you. Got it.
******
The Crests

Step By Step lyrics

Step, step. Step, step. Step, step... Step, step
Step by step I fell in love with you
And step by step it wasn't hard to do
Kiss by kiss and hand in hand
That's the way it all began

Soon we found the perfect plan for love
Side by side we took a lovers walk
Word by word we had a lover's talk
One word led to another and then
Then in no time we're up to ten
My heart knew it was gonna end in love

1st step, a sweet hello
2nd step, my heart's aglow
3rd step, we had a date
4th step, we stayed up late
5th step, I walk you home
6th step, we're all alone
7th step, we took a chance
One kiss and true romance

Step by step we climbed to heaven's door
Step by step, each thrill invited more
Then you promised faithfully
All your love belonged to me
Now I know we'll always be in love

Step, step. Step, step. Step, step. Step step

*********

Billie, William James Bradley, comment:

What the hell’s going on? It is almost like I can’t even listen to my transistor radio these days without wanting to throw up. Yes, that’s right throw up. And Markin, Peter Paul Markin, my best friend over at Adamsville South Elementary a couple of years back will back me up on this if he even comes back around the old neighborhood to breathe some real air, some fresh sea air, and get the low-down on what is good in music these days. Except I won’t have much to tell him right now. Like I said I feel like throwing up most of the time when I listen to the radio. Nothing righteous. Nothing like Elvis when he was righteous, hungry and righteous, a few years back. Or Jerry Lee before he got into cousin-marrying trouble or Chuck Berry when he got into no-no white girl trouble. Fabian, Conway Twitty, Duane Eddy, Ricky Nelson, jesus, even Ricky Nelson, the Everly Brothers and on and on with twaddle, yes, twaddle about this and that oddball thing about teen life. And girls, girls with money to buy the records, who seem to just want dreamy stuff about sad movies, some sad-sack boy friends, johnny, jimmy, joey angels, following guys to the end of the earth, and all that. No more be-bop-a-loola. I tell you we are in the dumps and it ain’t getting better, if anything worst.

Here is what I am up to these days, and maybe you should be too. I am starting to listen and listen hard to doo wop stuff. The stuff that came out of the street corners of New York City and other big town places where you had guys (and chicks too) singing, no instruments, or maybe some low-down, low-key piano, just doing harmonies, and doo wop background responses. Cool. Ya, I know I got in trouble, musically anyway, trying to cover righteous Bo Diddley down here in the white projects playing off “colored” music that really, really I say, drove early rock. Just ask Elvis, if he is in a truthful mood.

But this stuff, this doo wop stuff, if it gets around more, can break the pretty boys and their dreamy girl thing up.

So here is what I am doing now that it is summer, school is out, it’s hot, and we haven’t got a damn thing to do, and no money to do it with if we had that damn thing to do. I have been listening to doo wop records like crazy, right now I am concentrating on the Crests and their great harmonies on Step by Step. Here is what I want to do just like we tried last summer when Markin was around more. A few guys, a few of my guys, my hanging-around-waiting-to-do-this-and-that-but-just-now-waiting-fire-guys, would get together around dusk in back of the old school around the playground area and start practicing harmonies. Markin scoffed at the idea at the time, as usual. But then, just as the sun started going down, a couple of girls would come by to listen and not “dogs” either, or sticks. Then a couple more, and a couple more, and there you have it.

Of course after that Markin wanted to do it every day, all day, even in the afternoon heat, and Markin hates the heat. So I figure that we can try it again this year and maybe we can break out of the Bobby Vee mold. But see here is where I am on the hook. If you can believe this I need Markin, need him bad. Last summer when he was around more I tried to keep him in the background as his voice was starting to change. Ya, I tried to ship him and his voice to Chicago if you want to know the truth, best friend and all. But lately I have been having trouble on the call and response side of Step by Step and now that Markin has a more bassy voice I sure could use him otherwise I will never break out into my proper place in the doo wop world. Got it, Markin.

***And Yet Again, When Doo-Wop Be-Bopped The 1950s Night- “The Coed Records Story”- A CD Review

CD Review

The Coed Records Story, various artists, Ace Records, 2000

Sometimes looking back at the genesis of the 1950s rock explosion that produced some of the classic music that defined my generation, the generation of “68, it was individual performers like Elvis and Jerry Lee Lewis, who drove the music, other times it was the lyrics, the Tin Pan Alley-etched lyrics, and, as here, sometimes it was the sound, the sound associated with a particular label. One thinks of Sam Phillips’ Sun Records with the early rockabilly and blues explosion. Or Verve, Or Decca, or later the Motown sound. One place where the doo-wop, or doo-wop oriented sub-genre got a full workout was with Coed Records who story is told here in informative booklet form, and more importantly, by something like a greatest hits CD of the best work from that label’s heyday.

Now, like every musical genre, some of this material is strictly of the moment, that doo-wop moment, and some of it was performed by one-hit Johnnies and Janies, but a few, and that is all that one can expect, are classics. Here those classics include 16 Candles and Step By Step (songs you prayed, prayed out loud that they would play, and play at the end of the school dance night), The Crests; You Belong To Me (ditto), The Duprees; and, The Last Dance (ditto again) , The Harptones.

***Once Again, When Bop-Bop Bopped In The Doo Wop Night- “The Best Of Doo Wop Uptempo”- A CD Review

CD Review

The Best Of Doo Wop Uptempo, various artists, Rhino Records, 1989

Recently I got caught up, and caught up bad, in the girl group doo wop (or that is what I prefer to call it anyway) night and mentioned that I had a hard time, a really hard time, relating to girl groups. No, not that they could not doo wop with the guys, Christ, half, more than half the time, they were better than the guys. Think of those great Shirelles numbers that came exploding off the charts. No, my problem, my mostly girl-less teenage alienation, teen angst, teen guy couldn’t figure out girls problem, was the lyrics of most of the songs. Songs filled with lines about longing for long gone Eddie, songs about parents forcing young love out the door when it involved the leader of the pack, or wistfulness about whether true love would survive the night, or tomorrow night. Or even such lowly concerns as the fact that one’s boyfriend was back, or that one had reclaimed an old boy friend and made some other teenage girl miserable, miserable waiting at the midnight phone, still waiting maybe. You know, girlish concerns, girlish giggle concerns not fit for serious teenage boy angst ears.

Not so though with the doo wop guys, slow, or as here up-tempo. Here the reverse is true, well, somewhat true. Although many times girl-less I could relate to such lyrical problems as two-timing mamas, fickle girls trying to decide between Johnny and Jimmy, girls, conspiring, yes, conspiring, and I will provide notarized proof upon request, to break up Susie and Bobby so Laura can have a shot at the lad. Such were the treacheries of the teen life, the 1950s teen life American-style (although I suspect, without notarized proof here, that this stuff rings a bell for today’s teen whatever nation, via Facebook convenience, they hail from.

That said all that is left is to figure out the stick-outs, and there are many here, some verily classics of the genre of the up-tempo doo wop night: Get A Job (first, ma says it at about twelve or thirteen, then girlfriend says it at about sixteen or seventeen so you have some dough to spend on her, then wife says it at about twenty-five or six, okay we get it, yes, get a job): The Silhouettes; Gee (great harmonics, although the lyrics are, ah, a little light), The Crows; Blue Moon (an old time Tin Pan Alley tune that cries out for this treatment, and a big old full moon to croon under), The Marcels; Little Star (wistful, guy version), The Elegants; Step By Step (sensible approach to a relationship, if you can do it, most teens just forget it), The Crests; and, Come Go With Me (yes, please do), The Del-Vikings.

Note: I have to make a special pitch for Why Do Fools Fall In Love? by Frankie Lymon and the Teenagers, the max daddy of the bop-doo wop night and the voice that basically made it all possible for all those groups, all those big city corner boy (and girl) groups, to partake of the rock scene and some fame. When my best elementary school friend, Billie, William James Bradley, king of the neighborhood rock night and a pretty good budding rock singer, first heard this song I thought he was going to go crazy. He had us doo-wopping that thing all one summer when we were hanging out in back of the school. And guess what? That song (and a couple of others) had the girls, a couple at first, then a few more, then a bevy (nice word, right?) all coming around and getting all moony and swoony. And kept this reviewer from being girl-less, for a while anyway. Thanks, Frankie.

***When Girls Doo-Wopped Into The Be-Bop 1960s Night-The Best Of The Girl Groups-Volume 2-A CD Review

CD Review

The Best Of The Girl Groups, Volume 2, various artists, Rhino Records, 1990

The bulk of this review has also been used in a review of Volume 1 of this CD set.

I have, of late, been running back over some rock material that formed my coming of age listening music (on that ubiquitous, and very personal, iPod, oops, battery-driven transistor radio that kept those snooping parents out in the dark, clueless, and just fine, agreed), and that of my generation, the generation of ’68. Naturally one had to pay homage to the blues influences from the likes of Muddy Waters, Big Mama Thornton, and Big Joe Turner. And, of course, the rockabilly influences from Elvis, Carl Perkins, Wanda Jackson, and Jerry Lee Lewis on. Additionally, I have spent some time on the male side of the doo wop be-bop Saturday night led by Frankie Lymon and the Teenagers on Why Do Fools Fall In Love? (good question, right). I note that I have not done much with the female side of the doo wop night, the great ‘girl’ groups that had their heyday in the late 1950s and early 1960s before the British invasion, among other things, changed our tastes in popular music. I make some amends for that omission here.

One problem with the girl groups for a guy, me, a serious rock guy, me, is that the lyrics for many of the girl group songs, frankly, did not “speak to me.” After all how much empathy could a young ragamuffin of boy brought up on the wrong side of the tracks like this writer have for a girl who breaks a guy's heart after leading him on, yes, leading him on, just because her big bruiser of a boyfriend is coming back and she needs some excuse to brush the heartbroken lad off in the Angels' My Boyfriend’s Back. Or some lucky guy, some lucky Sunday guy, who breathlessly catches the eye of the singer in the Shirelles' Met Him On Sunday from a guy who, dateless Saturday night, was hunched over some misbegotten book, some study book, on Sunday feeling all dejected. And how about this, some two, or maybe, three-timing gal who berated her everloving boyfriend because she needs a good talking to, or worst, a politically incorrect "beating" in Joanie Sommers’ Johnny Get Angry.

So you get the idea, this stuff could not “speak to me.” Now you understand, right? Except, surprise, surprise foolish, behind the eight- ball, know-nothing youthful guy had it all wrong and should have been listening, and listening like crazy, to these lyrics because, brothers and sisters, they held the key to what was what about what was on girls’ minds back in the day, and maybe now a little too, and if I could have decoded this I would have had, well, the beginning of knowledge, girl knowledge. Damn. But that is one of the virtues, and maybe the only virtue of age. Ya, and also get this- you had better get your do-lang, do-lang, your shoop, shoop, and your best be-bop, be-bop into that good night voice out and sing along to the lyrics here. This, fellow baby-boomers, was our teen angst, teen alienation, teen love youth and now this stuff sounds great.

***When Girls Doo-Wopped In The Be-Bop 1960s Night- "The Best Of The Girl Groups- Volume 1”- A CD Review

CD Review

The Best Of The Girl Groups, Volume 1, various artists, Rhino Records, 1990

I have, of late, been running back over some rock material that formed my coming of age listening music (on that ubiquitous, and very personal, iPod, oops, battery-driven transistor radio that kept those snooping parents out in the dark, clueless, and just fine, agreed), and that of my generation, the generation of ’68. Naturally one had to pay homage to the blues influences from the likes of Muddy Waters, Big Mama Thornton, and Big Joe Turner. And, of course, the rockabilly influences from Elvis, Carl Perkins, Wanda Jackson, and Jerry Lee Lewis on. Additionally, I have spent some time on the male side of the doo wop be-bop Saturday night led by Frankie Lymon and the Teenagers on Why Do Fools Fall In Love? (good question, right). I note that I have not done much with the female side of the doo wop night, the great ‘girl’ groups that had their heyday in the late 1950s and early 1960s before the British invasion, among other things, changed our tastes in popular music. I make some amends for that omission here.

One problem with the girl groups for a guy, me, a serious rock guy, me, is that the lyrics for many of the girl group songs, frankly, did not “speak to me.” After all how much empathy can a young ragamuffin of boy brought up on the wrong side of the tracks like this writer have for a girl who breaks up with her boyfriend, a motorcycle guy, a sensitive motorcycle guy, on her parents’ demand because of his lower class upbringing as the lyrics in the Shangri-Las’ Leader of the Pack attest to. Except that she should have stuck with her guy through thick and thin, and maybe, just maybe, he would not have skidded off that rainy road and gone to Harley heaven so young. And, maybe, just maybe, they could be in that little white house with the picket fence hosting the grandkids today.

Try this, the lyrics about some guy, some sensitive, shy, good-looking guy with the wavy hair who all the girls are going crazy over but who the singer is going make her very own in boy and girl love battle in the Cliftons’ He’s So Fine when this writer was nothing but a girl reject, mainly. Or how about this one, the one where the love bugs are going to be married and really get that white house picket fence thing in the Dixie Cups’ Chapel Of Love for a guy who, again, more often than not didn’t even have steady girlfriend. I, kiss-less youth, won’t even get into the part of the anatomy that Betty Everett harps on in It’s In His Kiss. Or, finally, how could I possibly relate to the teen girl angst problem posed in the Shirelles Will You Still Love Me Tomorrow? Ya, how would I know if it was the real thing, or just a moment’s pleasure, and what that dreaded tomorrow they sing about will bring.

So you get the idea, this stuff could not “speak to me.” Now you understand, right? Ya, but also get this you had better get your do-lang, do-lang, your shoop, shoop, and your best be-bop bopped into that good night voice out and listen to, and sing along with, the lyrics here. This, fellow baby-boomers, was about our teen angst, teen alienation, teen love youth traumas and now, a distant now, this stuff sounds great.

***Once Again, When Be-Bop Bopped In The Doo Wop Night- “Street Corner Serenade II”- A CD Review

Click on the headline to link ot a YouTube film clip of the Harptones performing Life Is But A Dream.


CD Review

The Rock ‘n’ Roll, Era: Street Corner Serenade, Volume II, Time-Life Music, 1992

Sure I have plenty to say, as I mentioned in a review of Volume One of this two volume Street Corner Serenade set, about early rock ‘n’ roll, now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough, considering its effect on us on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standards, but get this, you could place it near your ear and have your own private out loud without parental scuffling in the background. Yes, sainted, sanctified techno-guru. No question.

What doo-wop did though down in our old-time working class neighborhood, and again it was not so much by revelation as by trial and error is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things when papas were out of work, or were one step away from that dreaded unemployment line, and there was trouble just keeping the wolves from the door? Sure, some kids, some kids like my “home boy” (no, not a term we used at the time) elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers on Why Do Fools Fall In Love was mad to do the doo-wop and make his fame and fortune.

The cover art on this compilation shows a group of young black kids, black guys, who look like they are doing their doo wop on some big city street corner. And that makes sense reflecting the New York City-derived birth of doo-wop and that the majority of doo-wop groups that we heard on AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope to be discovered and make more than just a 1950s musical jail-breakout. Moreover, this cover art also shows, and shows vividly, what a lot of us guys were trying to do-impress girls (and maybe visa-versa for girl doo-woppers but they can tell their own stories).

Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you did too (except girls just switch around what I just said). Ya, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do it, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. What do you think we would do? We knew nothing of keys and pauses, of time, pitch, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key, voice on the low.) Whether we did it well or poorly, guess what, as the hot day turned into humid night, and the old sun went down just over the hills, first a couple of girls, then a couple more, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. And swoony and moony was just fine. And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the songs in this doo-wop compilation could be heard in that airless night.

The stick outs here on Volume Two which is not quite as good as the first volume overall reflecting, I think, that like in other genres, there were really only so many doo-wop songs that have withstood the test of time: Life Is But A Dream (which with my voice really changing I kept very, very low on), The Harptones; Gloria ( a little louder from me on this one), The Cadillacs; Six Nights A Week (not their best 16 Candles is), The Crests: and, A Kiss From Your Lips, The Flamingos.

***When Be-Bop Bopped In The Doo Wop Night- “Street Corner Serenade”- A CD Review

Click on the headline to link to a YouTube film (From American Bandstand) of The Classics performing the old time classic ( I think originally from The Mills Brothers) , Till Then.

CD Review

The Rock ‘n’ Roll, Era: Street Corner Serenade, Time-Life Music, 1992

Sure I have plenty to say about early rock ‘n’ roll, now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough, considering its effect on us on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standard’s, but get this you could place it near your ear and have your own private out loud without parental scuffling in the background. Yes, sainted, sanctified techno-guru. No question.

What doo-wop did though down in our old-time working class housing projects neighborhood, and again it was not so much by revelation as by trial and error, is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things when papas were out of work, or were one step away, and there was trouble just keeping the wolves from the door. Sure, some kids, some kids like my home boy elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers was mad to do the doo-wop and make his fame and fortune.

The cover art on this compilation shows a group of young black kids, black guys, who look like they are doing their doo wop on some big city street corner. And that makes sense reflecting the New York City-derived birth of doo-wop and that the majority of doo-wop groups that we heard on the AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope, to be discovered and make more than just a 1950s musical jail-breakout of their lives. Moreover, this cover art also shows, and shows vividly, what a lot of us guys were trying to do-impress girls (and maybe viz-a-versa for girl doo-woppers but they can tell their own stories).

Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you did too (except remember girls just switch around what I just said). Ya, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do things, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. We knew nothing of keys and pauses, of time, notes, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key voice on the low, on the very low.) Whether we did it well or poorly, guess what, as the hot sun day turned into humid night, and the old sun went down just over the hills, first a couple of girls, then a couple more, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. And swoony and moony was just fine. And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the songs in this doo-wop compilation could be heard in that airless night. The stick outs here: Deserie, The Charts; Baby Blue, The Echoes; Till Then, The Classics; Tonight (Could Be The Night), The Velvets.

***Out In The Be-Bop 1950s Night- Out In The Church Hall Dance Night- A CD Review

Click on the headline to link to a YouTube film clip of the Teen Angels performing Eddie, My Love.

CD Review

The Rock ‘N’ Roll Era: 1956: various artists, Time-Life Music, 1987

I, seemingly, have endlessly gone back to my early musical roots in reviewing this Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.

And we, we small-time punk in the old-fashioned sense of that word, we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not Billie who I will talk about later, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.

Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears, at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Ya right, Ma, like Patti Page or Bob (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) Crosby and The Bobcats were supposed to satisfy our jail break cravings.

But can you blame me, or us, for our jail-break visions and our clandestine subterranean life-transistor radio dreams of lots of girls (or boys as the case may be), lots of cars, and lots of money if we could just get out from under that parental noise. Now this Time-Life series has many compilations but as if to prove my point beyond discussion the year 1956 has two, do you hear me, two CDs to deal with that proposition that I mentioned above. And neither includes Elvis, Jerry Lee, Bo Diddley or some other stuff that I might have included. I already reviewed the other 1956 compilation previously but here are the stick outs from this selection:

Blue Suede Shoes, Carl Perkins (Elvis covered it and made millions but old Carl had a better old rockabilly back beat on his version); In The Still Of The Night, The Five Satins (a doo wop classic that I am humming right this minute, sha dot do be doo, sha dot do be doo or something like that spelling, okay); Eddie, My Love, The Teen Queens (incredible harmony, doo wop back-up, and, and “oh Eddie, please don’t make me wait too long” as part of the lyrics, Whoa!); Roll Over Beethoven, Chuck Berry ( a deservedly early break-out rock anthem. Hell I thought it was big deal just to trash Patti Page old Chuck went after the big boys.); Be-Bop-a-Lula, Gene Vincent (the guy was kind of a one hit wonder but Christ what a one hit, "ya, she’s my baby now"); Blueberry Hill, Fats Domino (that old smooth piano riffing away); Rip It Up, Little Richard (he/she wild man Richard rips it up; Young Love, Sonny James ( dreamy stuff that those giggling girls at school loved, and so you "loved" too); Why Do Fools Fall In Love?, Frankie Lymon and the Teenagers (for a minute the king be-bop, doo wop teenage angel boy. Everybody wanted to be the doo wop king or queen); See You Later, Alligator, Bill Haley and The Comets (ya, these “old guys” could rock, especially that sax man. Think about it people still use the expression “see you later alligator”); and Since I Met You Baby, Ivory Joe Hunter (every dance pray, every last dance pray, oh my god, let them play Ivory Joe at the end so I can dance close with that certain she I have been eyeing all night).

Note: I have mentioned previously the excellent album cover art that accompanies each Time-Life classic rock series compilation. Not only does it almost automatically evoke long ago memories of red hot youth, and those dreams, those steamy dance night dreams too, but has supplied this writer with more than one idea for a commentary. This 1956 compilation album cover is in that same vein. The cover shows what looks like a local cover band from the 1950s getting ready to perform at the local high school dance. Although the guys, especially the lead vocalist, look a little skittish they know they have to make a good showing because this is their small time chance at the big time. Besides there are about six thousand other guys hanging around in their fathers’ garages ready and willing to step up if the Danny and the Bluenotes fall flat.

This live band idea is actually something of a treat because, from what I recall, many times these school dance things survived on loud record playing dee-jay chatter, thus the term “record hop.” From the look of it the school auditorium is the locale (although ours were inevitably held in the school gym), complete with the obligatory crepe, other temporary school-spirit related ornaments and a mesmerized girl band groupie to give the joint a festive appearance.

More importantly, as I said before, at least for the band, as they are to be warming up for the night’s work, is that they have to make their mark here (and at other such venues) and start to get a following if they want to avoid another dreaded fate of rock life. Yes, the dreaded fate of most bands that don’t break out of the old neighborhood, the fate of having to some years down the road play at some of the students they are performing for today children’s birthday parties, bar mitzvahs, weddings and the like. That thought should be enough to keep these guys working until late in the night, jamming the night away, disturbing some old fogy Frank Sinatra fans in the neighborhood, perfecting those covers of Roll Over Beethoven, Rip It Up, Rock Around The Clock and Jailhouse Rock. Go to it boy, you bet.

*** Out In The Be-Bop Night- The Baby-Boomer Birth Of The Search For The Blue-Pink American Western Night- “American Graffiti”-Film Review

Click on the headline to link to a YouTube film clip of a segment of American Graffiti, featuring the lead-up to the hot rod duel.

DVD Review

American Graffiti, starring Richard Dreyfus, Ron Howard, Cindy Williams, Harrison Ford, Paul LeMat, directed by George Lucas, 1973

Recently in this space I have been deep in remembrances of the influences, great and small, of the 1950s “beats” on my own sorry teen-aged alienation and teen-aged angst (sometimes they were separate anguishes, sometimes tied together like inseparable twins, mostly the later) and the struggle to find my place in the sun, to write in bright lights my own beat plainsong. Of course, that influence was blown over me second-hand as I was just a little too young, or too wide-world unconscious, to be there at the creation, on those first roads west, those first fitfully car-driven, gas-fuelled, thumb hanging-out, sore-footed, free exploration west, in body and mind. That first great rush of the adrenal in trying to discover, eternally discover as it has turned out, the search for the meaning of the great blue-pink American West night. Ah, pioneer-boys, thanks.

I just got a whiff, a passing whiff of that electric-charged air, the sweet “be-bop”, bop-bop, real gone daddy, cooled-out, pipe-filled with whatever, jazz-sexed, high white note blown, howling in the wind plainsong afterglow. Moreover, somewhat tarnished, a little sullen and withdrawn, and media-used up by my time. More than one faux black chino-wearing, black beret’d, stringy-bearded, nightshade sun-glassed, pseudo-poetic-pounding, television-derived fakir crossed my path in Harvard Square in those high stakes early 1960s high school days. And a few real ones, as well. (A couple, whom I still pass occasionally, giving a quick nod to, have never given up the ghost and still haunt the old square looking for the long-gone, storied Hayes-Bickford, a place where the serious and the fakirs gathered in the late night before dawn hour to pour out their souls, via mouth or on paper). More to the point, I came to late to be able to settle comfortably into that anti-political world that the “beats” thrived in. Great political and social events were unfolding and I wanted in, feverishly wanted in, with both hands.

You know some of the beat leaders, the real ones, don’t you? Remembered, seemingly profusely remembered now, by every passing acquaintance with some specimen to present. Now merely photo-plastered, book wrote, college english department deconstruction’d , academic journal-debated, but then in full glory plaid shirt, white shirt, tee shirt, dungarees, chinos, sturdy foot-sore cosmic traveler shoes, visuals of heaven’s own angel bums, if there was a heaven and there were angels and if that locale needed bums.

Jack, million hungry word man-child sanctified, Lowell mills-etched and trapped and mother-fed, Jack Kerouac. Allen, om-om-om, bop, bop, mantra-man, mad Paterson-trapped, modern plainsong-poet-in-chief, Allen Ginsberg. William, sweet opium dream (or, maybe, not so sweet when the supply ran out), needle-driven, sardonic, ironic, chronic, Tangiers-trapped, Harvard man (finally, a useful one, oops, sorry), Williams S. Burroughs. Neal, wild word, wild gesture, out of ashcan all-America dream man, tire-kicking, oil-checking, gas-filling, zen master wheelman gluing the enterprise together, Neal Cassady. And a whirling crowd of others, including mad, street-wise, saint-gunsel, Gregory Corso. I am a little fuzzy these days on the genesis of my relationship to this crowd (although a reading of Ginsberg’s Howl was probably first in those frantic, high school, Harvard Square, poetry-pounding, guitar-strummed, existential word space, coffee, no sugar, I’ll have a refill, please, fugitive dream’d, coffeehouse-anchored days). This I know. I qualified, in triplicate, teen angst, teen alienation, teen luddite as a card-carrying member in those days.

That brings us to the film under review, American Graffiti, and its relationship to the birth of the search for the blue-pink great American West night promised to be discussed in the headline. Well, let me run through the plot line for those who are not familiar with idea behind the film, or are too young to have a clue as to such goings-on but might want to know what the old fogies, their parents or (ouch) grandparents were up to (or thought they were up to) back in the days, or are the peers of those 1960s baby-boomers enshrined in the film, but have forgotten a thing or two since they watched the thing in 1973 (another ouch).

The opening scene sets the whole film up. A very spiffy, well-dressed, well-scrubbed, well-mannered (mostly), middle class crew of 1962-era Southern California suburban valley kids with plenty of disposable income at hands, are gathering for one last tribal meeting before they go their separate ways in the great adult grind-it-out, eyes-straight-forward, shoulder-to-the-wheel, little boxes world at their main club house, Mel’s fast food drive-in (already I have lost the younger set on that last point, on the non-mall food court, drive-in thing, right?). How did they get to said gathering spot, you might ask? Come on now, this is wide open-spaced California suburban valley how else would they get there other that in their own personal “teen mobiles.” Jesus, do I have to tell you everything.

They come in one and twos, mainly, in some of the best-looking “boss” car (excuse my reversion to an old-time term for excellence, automobile division) that you will see these days outside of an automobile museum. And besides that, many of them, the cars that is, are “souped-up” (look that one up yourself), especially valley hot-rod-king of the hill, John (played by Paul LeMat), and his yellow (mustard yellow, wow, can you believe that?) little deuce coup (ditto on the look up). Here is the point though, the main point even in this pre-1960s rebellion period, none of the cars look anything like any parent would drive, or could drive (except the few dweeby cars borrowed for the evening from some plaint, or beaten-down, beaten down by teen argument parent). Yes indeed, this is a gathering of the California branch of “youth nation” in all their tribal finery.

As is to be expected of a teen-centered (amazingly teen-centered, adults get merely cameo appearances in this one, and that seems about right) drama the plot line thins out considerably after the flash at Mel’s. Mainly, it is about a single night’s search for the 1962 version of the California blue-pink night (more on this below). And what drives that search? Cruising, natch. Why spend the time and expense involved in a “boss” car (you know that word now, right?) if you don’t create a stir up and down the main drag boulevard looking for…. , you can easily fill in that blank yourself. The rest of the plot centers on such eternal questions as the young leaving home and hearth to face the great wide world (here to be or not to be a college freshman by stars Ron Howard, as Steve, and Richard Dreyfus, as Curt), the usual boy looking for girl thing (including by oldster hot-rod king, Johnny) that I have endlessly reported on elsewhere in this space and that is not worthy of comment in a teen film. What else could such a film be about? Teen break-ups (Howard and Cindy Williams, as Laurie), cruising, stopping at Mel’s for some car-hopped fast food, cruising, a little hot- rod duel ( between Johnny and, ah, one Harrison Ford) on those open California highways (what else are they for?), and then daylight and the rude old work-a-day world intrudes, even on sanctified teen life.

This is one time though that I do not do justice to a film with a summary because this thing is well-directed, well-produced, and well-acted by a crew of then very young unknowns (mostly) that would go on to all kinds of other cinematic successes (including hot-rod runner-up, ah, Ford). The sense of déjà vu for this Eastern U.S.-born baby-boomer, including a great high school dance segment and a soundtrack that reads out of every classic Oldies But Goodies compilation that I have ever reviewed, was palpable, without being maudlin. Kudos

So what connection can be drawn, one might rightly ask in a review of American Graffiti, a film that depicts a snapshot of a then respectable early 1960s coming-of-age teen-driven culture. With, by then, a respectable post-birth of rock and roll (cleaned up of the “bad boys” like Jerry Lee Lewis) soundtrack. That also pays homage to a then very respectable post-Great Depression Okie-Akie invasion middle class-driven suburban valley life-style, and its respectable (mostly) California teen “boss” car culture. And highlights a then respectable superficial teen angst (“do you like my finger nails painted in crimson red or rose red?”, “do you want Pepsi or Coke with your hamburger, hold the onions?”, or something along those lines) and the search for now respectably beatified “beat” culture great blue-pink American West night? A film which, moreover, has not the slightest reference to, nor can in any way be taken to have been produced under the under the sign of, the “beats.” Hell, not even a Maynard G. Krebs (from the old time media image of beatniks television show, Dobey Gillis) beatnik caricature in the lot. Nada.

The closest that any character comes is my boy John, “greaser”, deuce coup, hot rod-king-of- the-hill, and working class poet (limited lyric car poet, okay)/ existential philosopher. And he doesn’t count because he has been around since Hector was a pup, is seen as an eternal “townie” by his middle class brethren, and is a throwback to James Dean and Marlon Brando 1950s California cool. And those guys (I mean the characters they played in Rebel Without A Cause and The Wild One not them as personalities, they were cool, no question) weren’t beat, no way. Beside John’s angst, important but kind of universal as it is, for some dewy-eyed female teeny-bopper to sit next to him in that old jalopy as he cruises those great California valley night highways is not the stuff of tragedy. Not in my book anyway, and I also had more than my share of that kind of teen angst.

No, what this film connects to, and connects to visually in the first instance, is that great big old search for that pink-blue American Western night that the “beats”, at least what I think the beats were searching for when they were doing their breakout from the post- World War II American crank-out death machine night. The shift from the Eastern American dark night westward (mainly, although some of beats were already vanguard- hovering around San Francisco waiting for the boys to come off the roads from the east and establish what was what) serves as a metaphor for much of what they were up to, if only to breakout, a little, from the nine-to-five, waiting for the bomb (atomic bomb) to drop world. That visual sense is most dramatically highlighted in the very first opening shots of this film where the pink-blue sky forms the backdrop to the activity starting up at California teen-hang-out (and elsewhere as well, even stuffy old Boston), fast food drive-in, Mel’s drive-in (A&W, Adventure Car-Hop, Diary Queen, fill in your own named spot), central committee headquarters for valley California teen night. .

Wait, let me detail this a little more so there is no mistake. The film opens with the first few anxious California “boss” cars (you remember what that word means, right?), almost tear-provoking in this reviewer, because I rode in teen cars just like those, rolling into neon-sign lighted Mel’s(lights just turned on against the kitchen-backdrop dark night) just as the sun is going down. There is a big old sun-devouring red devil of a cloud flaming up in the background. That is NOT the part of the pink-blue night I am talking about. Below, just below, nearer the horizon is the one I am talking about, the symbol of the search, and the stuff of dreams, the great American blue-pink dream escape.

I can hear great yawns and see rolled eyes piercing through cyberspace as you say so what is the big deal about some foolish ephemeral passing cloud, blue-pink, pink-blue, or hell, blue-blue. Philistines! Go back now to Mel’s, or wherever the blue-pink sky announces the nights doings, the night’s promises or disappointments. Those promises or those disappointments, great or small, went to make up the birth of the search for the great American Western night, the night of our own circumscribed teen, kiddish break-outs, great or small.

Make no mistake it was not the morning, the morning of school or toil, paid or unpaid. It was not the lazy afternoon, the time of study or of the self-same toil, paid or unpaid (the unpaid kind thanked for or not, or to quote the universal parent god of the time done because we keep a roof over your head). It was the night, no the approach, the blue-pink approach of night that drove our maddened dreams, hopefully signaling good omen for the night’s work. The day was mere preclude to that tiny feverishly sought breakout (now a small thing seen, but not then). The telephoned arrangements, the groomed preparations, the gathering of the odd dollar here or there, in order to first cruise that teen empty highway and then on second pass the filling teen night.

Now do you see how the “beats”, those unnamed, unnamable, sub-consciously-embedded beats drove our bust-out dreams for travel, for adventure, for wine (later, dope),for women (or men) and for song, for shaking off the dust of the old town, great or small, as long as it moving elsewhere, and on a thumb pulled-out, hard-driven, shoe leather-beaten shod foot if need be.

American Graffiti is a snapshot of just exactly that minute, just that historic minute before the great shake-out of the 1960s for the baby-boomer generation, after that minute some of us went left politically and became social activists. We made just about every political, social, and cultural mistake along the way and lost, no, were defeated, no again, were mauled, in the end in our dreams of “seeking that newer world.” (And have spent the past forty or so years having to fight a rear-guard against the straightjacket, death machine-loving yahoos and their consorts). Ya, but hear me out. The search for the blue-pink Great American Western night was not one of those mistakes.