Tuesday, April 24, 2012

***Out In The Be-Bop Night- Scenes From Search For The Blue-Pink Great American West Night-Hayes Bickford Breakout 1962

Click on the headline to link to a photograph of a Hayes-Bickford on Huntington Avenue in Boston (no Cambridge one available) to add a little flavor to this entry.

The scene below stands (or falls) as a moment in support of that eternal search mentioned in the headline.

Scene Two: Got The Urge For Going In Search Of The Blue- Pink Great American West Night- Hayes-Bickford  Breakout 1962

Here I am again sitting, 3 o’clock in the morning sitting, bleary-eyed, slightly distracted after mulling over the back and forth of the twelve hundredth run-in (nice way to put it, right?) with Ma that has driven me out into this chilly early October 1962 morning. And where do I find myself sitting at this time of morning? Tired, but excitedly expectant, on an uncomfortable, unpadded bench seat on this rolling old clickity-clack monster of a Red Line subway car as it now waggles its way out past Kendall Station on its way to Central Square and then to the end of the line, Harvard Square. My hangout, my muse home, my night home, at least my weekend night home, my place to make sense of the world in a world that doesn’t make much sense, at least not enough much sense. Sanctuary, Harvard Square Hayes-Bickford sanctuary, misbegotten teenage boy sanctuary, recognized by august international law, recognized by sanctified canon law, or not.

That beef with Ma, that really unnumbered beef, forget about the 1200 I said before, that was just a guess, has driven me to take an “all-nighter” trip away from the travails of the old home town across Boston to the never-closed Hayes-Bickford cafeteria that beckons just as you get up the stairs from the Harvard Square subway tunnel. Damn, let me just get this off my chest and then I can tell the rest of the story. Ma said X, I pleaded for Y (hell this homestead civil war lent itself righteously to a nice algebraic formulation. You can use it too, no charge). Unbeknownst to me Y did not exist in Ma’s universe. Ever. Sound familiar? Sure, but I had to get it off my chest.

After putting on my uniform, my Harvard Square “cool” uniform: over-sized flannel brownish plaid shirt, belt-less black cuff-less chino pants, black Chuck Taylor logo-ed Converse sneakers, a now ratty old windbreaker won in a Fourth of July distance race a few years back when I really was nothing but a wet-behind-the ears kid to ward off the chill, and, and the absolutely required midnight sunglasses to hide those bleary eyes from a peeking world I was ready to go. To face the unlighted night, and fight against the dawn’s rising for another day. Oh ya, I forgot, I had to sneak out of the house stealthily, run like some crazed broken- field football player down the back of the property, and, after catching my breathe, walk a couple of miles over the North Adamsville Bridge and nasty, hostile (hostile if anyone was out, and anyone was sniping for a misbegotten teenage boy, for any purpose good or evil) Dorchester streets to get to the Fields Corner subway stop. The local Eastern Mass. bus had stopped its always erratic service hours ago, and, anyway, I usually would rather walk, in any case, than wait, wait my youth away for those buses to amble along our way with their byzantine schedules.

Right now though I am thinking, as those subway car wheels rattle beneath my feet, who knows, really, how or why it starts, that wanderlust start, that strange feeling in the pit of your stomach that you have to move on, or out, or up or you will explode, except you also know, or you damn well come to know that it eats away at a man, or a woman for that matter, in different ways. Maybe way back, way back in the cradle it was that first sense that there was more to the world that the four corners of that baby world existence and that if you could just, could just get over that little, little side board there might be something better, much better over the horizon. But, frankly that just seems like too much of a literary stretch even for me, moody teenage boy that I am, to swallow so let’s just say that it started once I knew that the ocean was a way to get away, if you needed to get away. But see I didn’t figure than one out for myself even, old Kenny from the old neighborhood in third grade is the one who got me hip to that, and then Johnny James and his brother filled in the rest of the blanks and so then I was sea-worthy, dream sea-worthy anyway.

But, honestly, that sea dream stuff can only be music for the future because right now I am stuck, although I do not always feel stuck about it, trying to figure my way out of high school world, or at least figure out the raging things that I want to do after high school that fill up my daydream time (study hall time, if you really want to know). Of course, as well, that part about the ocean just mentioned, well there was a literal part to the proposition since ocean-at-my-back (sometimes right at my back) New England homestead meant unless I wanted to take an ill-advised turn at piracy or high-seas hijacking or some such thing east that meant I had to head west. Right now west though is Harvard Square, its doings and not doings, it trumpet call to words, and sounds, and actions in the October Friday night all-night storm brewing.

The train now rounds the squeaky-sounding bend out of Central Square and stops at the underground Harvard Square station. So now I leave my pensive seat and stand waiting, waiting for the driver to release the pressure to let the sliding train door open, getting ready to jump off the old subway, two-step-at-a-time my way up the two flights of stairs and head for mecca to see if things jump for me tonight. The doors open at last. Up the two-stepped stairs I go, get to the surface and confront the old double-glassed Hayes door entrance and survey the vast table-filled room that at this hour has a few night owl stranglers spotted randomly throughout the place.

You know the old Hayes-Bickford, or one of them, if you live in Boston or New York City, or a few other places on the East Coast, don’t you? Put your tray on the metal slider (hey, I don’t know what you call that slider thing, okay) and cruise down the line from item to item behind the glass-enclosed bins of, mostly, steamy food, if you are looking for fast service, for a quick between doing things, pressing things, meal. Steamed and breaded everything from breakfast to lunch to dinner anytime topped off by dishwater quality coffee (refills on demand, if you feel lucky).

This is not the place to bring your date, certainly not your first date, except maybe for a quick cup of that coffee before going to some event, or home. What this is, really, is a place where you can hang out, and hang out with comfort, because nobody, nobody at all, is going to ask you to leave, at least if you act half-way human. And that is what this place is really about, the humans in all their human conditions doing human things, alien to you or not, that you see floating by you, as you take a seat at one of the one-size-fits all wooden tables with those red vinyl seat covered chairs replete with paper place settings, a few off-hand eating utensils and the usual obligatory array of condiments to help get down the food and drink offered here.

Let me describe who is here at this hour on an early Saturday morning in October 1962. I will not vouch for other times, or other days, but I know Friday and Saturday nights a little so I can say something about them. Of course there is the last drink at the last open barroom crowd, said bar already well-closed in blue law Massachusetts, trying to get sober enough by eating a little food to traverse the road home. Good luck. Needless to say eating food in an all-night cafeteria, any all-night cafeteria, means only one thing-the person is so caught up in a booze frenzy that he (mainly) or she (very occasionally) is desperate for anything to hang the name food on to. Frankly, except for the obligatory hard-dollar coffee-steamed to its essence, then through some mystical alchemic process re-beaned, and served in heavy ceramic mugs that keep in the warmth to keep the eyes open the food here is strictly for the, well, the desperate, drunk or sober.

I might mention a little more about the food as I go along but it is strictly to add color to this little story. Maybe, maybe it will add color to the story but this is mainly about the “literary” life at the old Hayes and the quest for the blue-pink night not the cuisine so don’t hold me to it. Here is the kicker though; there are a few, mercifully few this night, old winos, habitual drunks, and street vagabonds (I am being polite here) who are nuzzling their food, for real. This is the way that you can tell the "last drink" boys, the hail fellows well met, who are just out on the town and who probably go to one of the ten zillion colleges in the area and are drawn like moths (and like wayward high schools kids, including this writer) to the magic name, Harvard Square. They just pick at their food. Those other guys (again, mainly, guys) those habituals and professional waywards work at it like it is their last chance for salvation.

Harvard Square, bright lights, dead of nights, see the sights. That vision is nothing but a commercial, a commercial magnet for every young (and old) hustler within fifty miles of the place to come and display their “acumen”. Their hustle. Three card Monte, quick-change artistry, bait and hook, a little jack-rolling, fake dope-plying, lifting an off-hand wallet, the whole gamut of hustler con lore. On any given Harvard Square weekend night there have got to be more young, naïve, starry-eyed kids hanging out trying to be cool, but really, like me, just learning the ropes of life than you could shake a stick at to set a hustler’s heart, if he (mainly) or she (sometimes) had a heart.

I’ll tell you about a quick con that got me easy in a second but right now let me tell you that at this hour I can see a few con artists just now resting up after a hard night’s work around a couple of tables, comparing notes (or, more likely, trying to con each other, there is no honor among thieves in this little night world. Go to it boys). As to the con that got me, hey it was simple, a guy, an older guy, a twenty-five year old or something like that guy, came up to me while I was talking to a friend and said did I (we) want to get some booze. Sober, sixteen years old, and thrill-seeking I said sure (drinking booze is the coin of the realm for thrills these days, among high school kids that I know, maybe the older set, those college guys, are, I hear, experimenting with drugs but if so it is very on the QT).

He said name your poison, I did, and then he “suggested” a little something for himself. Sure, whatever is right. I gave him the money and he returned a few minutes later with a small bag with the top of a liquor bottle hanging out. He split. We went off to a private area around Harvard Yard (Phillips Brook House, I think) and got ready to have our first serious taste of booze, and maybe get rum brave enough to pick up some girls. Naturally, the bottle is a booze bottle alright but it had been opened (how long before is anyone’s guess) and filled with water. Sucker, right. Now the only reason that I am mentioning this story right now is that the guy who pulled this con is sitting, sitting like the King of Siam, just a few tables away from where I am sitting. The lesson learned for the road, for the future road that beckons: don’t accept packages from strangers without inspecting them and watch out for cons, right? No, hell no. The lesson is this: sure don’t fall for wise guy tricks but the big thing is to shake it off, forget about it if you see the con artist again. You are way to cool to let him (or occasionally her) think that they have conned you. Out loud, anyway.

But wait, I am not here at almost four o’clock in the Hayes-Bickford morning, the Harvard Square Hayes-Bickford morning, to talk about the decor, the food if that is what it is, about the clientele, humble, slick, or otherwise. I am here looking for “talent,” literary talent that is. See, I have been here enough, and have heard enough about the ”beats” (or rather pseudo-beats, or “late phase” beats at this time) and the “folkies” (music people breaking out of the Pop 40 music scene and going back to the roots of America music, way back) to know that a bunch of them, about six in all, right this minute are sitting in a far corner with a light drum tapping the beat listening to a guy in black pants(always de rigueur black), sneakers and a flannel shirt just like me reciting his latest poem. That possibility is what drove me here this night, and other nights as well. See the Hayes is known as the place where someone like Norman Mailer has his buttered toast after one of his “last drink” bouts. Or that Bob Dylan sat at that table, that table right over there, writing something on a napkin. Or some parallel poet to the one now wrapping up his seventy-seven verse imitation Allen Ginsberg's Howl master work went out to San Francisco and blew the lid off the town, the City Lights town, the literary town.

But I better, now that the five-ish dawn light is hovering after my dawdlings, trying to break through the night wars, get my droopy body down those subway stairs pretty soon and back across town before anyone at home notices that I am missing. Still I will take the hard-bitten coffee, re-beaned and all, I will take the sleepy eyes that are starting to weigh down my face, I will even take the con artists and feisty drunks just so that I can be here when somebody’s search for the blue-pink great American West night, farther west than Harvard Square night, gets launched.

***An Encore –Singing The Blues For His Lord- The Reverend Gary Davis Is On Stage

Click On Title To Link To YouTube's Film Clip Of Reverend Gary Davis Performing On Pete Seeger's "Rainbow Quest".

CD Review

Reverend Gary Davis: At Home:1964-1966, Shanachie Records, 2000


I have mentioned many of the old time black male country blues singers in this space, for example, Son House, Bukka White and Skip James. I have also mentioned the close connection between this rural music, the routine of life on the farm (mainly the Mississippi Delta plantations or sharecropping) and simple religious expression in their works. The blues singer under review meets all of those criteria and more. The Reverend Gary Davis, although not as well known in the country blues pantheon, has had many of his songs covered by the denizens of the folk revival of the 1960's and some rock groups, like The Grateful Dead, looking for a connection with their roots. Thus, by one of the ironies of fate his tradition lives on in popular music. I would also mention here that his work was prominently displayed in one of Stefan Grossman’s Masters Of The Blues documentaries that I have reviewed in this space. That placement is insurance that that the Reverend's musical virtuosity is of the highest order. As an instrumentalist he steals the show in that film. Enough said.

Stick out songs here which have a decidedly more religious bent than a previously reviewed “Twelve Keys To The City” CD are “I Am The True Vine", "Soon My Work Will Be Done" , "I Want To Be Saved,” the gospelly "Blow Gabriel" and “Tired, My Soul Needs Resting”

Some Biographical Information From the Back Cover

Durham, North Carolina in the 1930's was a moderate sized town whose economy was driven by tobacco farming. The tobacco crop acted somewhat as a buffer against the worst ravages of the Depression. During the fall harvest, with its attendant tobacco auctions, there was a bit more money around, and that, naturally, attracted musicians. Performers would drift in from the countryside and frequently took up residence and stayed on. Two master musicians who made Durham their home, whose careers extended decades until they become literally world famous, were Reverend Gary Davis and Sonny Terry.

REV. GARY DAVIS

Reverend Gary Davis was one of the greatest traditional guitarists of the century. He could play fluently in all major keys and improvise continually without repetition. His finger picking style was remarkably free, executing a rapid treble run with his thumb as easily as with his index finger and he had great command of many different styles, representing most aspects of black music he heard as a young man at the beginning of the century. Beyond his blues-gospel guitar, Davis was equally adept at ragtime, marches, breakdowns, vaudeville songs, and much more. Born in Lawrence County, South Carolina in 1895, Davis was raised by his grandmother, who made his first guitar for him. Learning from relatives and itinerant musicians, he also took up banjo and harmonica. His blindness was probably due to a congenital condition. By the time he was a young man he was considered among the elite musicians in his area of South Carolina where, as in most Southern coastal states, clean and fancy finger picking with emphasis on the melody was the favored style. Sometime in the early 1950's, Davis started a ministry and repudiated blues. In 1935, he recorded twelve gospel songs that rank among the masterpieces of the genre. In 1944, he moved to New York where he continued his church work, and sometimes did some street singing in Harlem. By the early 1960's, with the re-emergence of interest in traditional black music, Davis finally received the recognition and prominences he so richly deserved.
*******
Blow, Gabriel, Blow Lyrics


[RENO]
Brothers and sisters, we are here tonight to fight the devil...
Do you hear that playin'?

[COMPANY]
Yes, we hear that playin'!

[RENO]
Do you know who's playin'?

[COMPANY]
No, who is that playin'?

[RENO]
Well, it's Gabriel, Gabriel playin'!
Gabriel, Gabriel sayin'
"Will you be ready to go
When I blow my horn?"

Oh, blow, Gabriel, blow,
Go on and blow, Gabriel, blow!
I've been a sinner, I've been a scamp,
But now I'm willin' to trim my lamp,
So blow, Gabriel, blow!

Oh, I was low, Gabriel, low,
Mighty low, Gabriel, low.
But now since I have seen the light,
I'm good by day and I'm good by night,
So blow, Gabriel, blow!

Once I was headed for hell,
Once I was headed for hell;
But when I got to Satan's door
I heard you blowin' on your horn once more,
So I said, "Satan, farewell!"

And now I'm all ready to fly,
Yes, to fly higher and higher!
'Cause I've gone through brimstone
And I've been through the fire,
And I purged my soul
And my heart too,
So climb up the mountaintop
And start to blow, Gabriel, blow

[ALL]
Come on and blow, Gabriel, blow!

[RENO]
I want to join your happy band
And play all day in the Promised Land.
So blow, Gabriel, blow!
Come on you scamps, get up you sinners!
You're all too full of expensive dinners.
Stand up on your lazy feet and sing!

[ALL]
Blow, Gabriel, blow, (Blow, Gabriel!)
Go on and blow, Gabriel, blow. (Blow, Gabriel!)
I've been a sinner, I've been a scamp,
But now I'm willin' to trim my lamp,
So blow, Gabriel, blow.

I was low, Gabriel, low, (Low, Gabriel!)
Mighty low, Gabriel, low.
But now since that I have seen the light
I'm good by day and I'm good by night
So blow, Gabriel, blow.

[RENO]
Once I was headed for hell,
Once I was headed for hell;
But when I got to Satan's door
I heard you blowin' on your horn once more,
So I said, "Satan, farewell!"

And now I'm all ready to fly,
Yes, to fly higher and higher!
'Cause I've gone through brimstone
And I've been through the fire,
And I purged my soul
And my heart too,
So climb up the mountaintop
And start to blow, Gabriel, blow

[ALL]
Go on and blow, Gabriel, blow!

[RENO]
I want to join your happy band
And play all day in the Promised Land.
So blow, Gabriel!

[ALL]
Go on and...
Blow, Gabriel, blow
Blow, Gabriel, blow
Blow, Gabriel, blow
I wanna join your happy band
And play all day in the Promised Land,
So blow, Gabriel, blow, Gabriel, blow, Gabriel, blow!

***Singing The Blues For His Lord- The Reverend Gary Davis Is On Stage

Click On Title To Link To YouTube's Film Clip Of Reverend Gary Davis Performing On Pete Seeger's "Rainbow Quest".

CD Review

Twelve Gates To The City: Reverend Gary Davis: In Concert 1962-1966, Shanachie Records, 2000


I have mentioned many of the old time black male country blues singers in this space, for example, Son House, Bukka White and Skip James. I have also mentioned the close connection between this rural music, the routine of life on the farm (mainly the Mississippi Delta plantations or sharecropping) and simple religious expression in their works. The blues singer under review meets all of those criteria and more. The Reverend Gary Davis, although not as well known in the country blues pantheon, has had many of his songs covered by the denizens of the folk revival of the 1960's and some rock groups, like The Grateful Dead, looking for a connection with their roots. Thus, by one of the ironies of fate his tradition lives on in popular music. I would also mention here that his work was prominently displayed in one of Stefan Grossman’s Masters Of The Blues documentaries that I have reviewed in this space. That placement is insurance that that the Reverend's musical virtuosity is of the highest order. As an instrumentalist he steals the show in that film. Enough said.

Stick out songs here are the much-covered "Samson and Delilah", "Cocaine Blues" (from when it was legal, of course, although still sinful, naturally), "Twelve Keys To The City" and the gospelly "Blow Gabriel" and “Who Shall Deliver Poor Me”

Some Biographical Information From the Back Cover

Durham, North Carolina in the 1930's was a moderate sized town whose economy was driven by tobacco farming. The tobacco crop acted somewhat as a buffer against the worst ravages of the Depression. During the fall harvest, with its attendant tobacco auctions, there was a bit more money around, and that, naturally, attracted musicians. Performers would drift in from the countryside and frequently took up residence and stayed on. Two master musicians who made Durham their home, whose careers extended decades until they become literally world famous, were Reverend Gary Davis and Sonny Terry.

REV. GARY DAVIS

Reverend Gary Davis was one of the greatest traditional guitarists of the century. He could play fluently in all major keys and improvise continually without repetition. His finger picking style was remarkably free, executing a rapid treble run with his thumb as easily as with his index finger and he had great command of many different styles, representing most aspects of black music he heard as a young man at the beginning of the century. Beyond his blues-gospel guitar, Davis was equally adept at ragtime, marches, breakdowns, vaudeville songs, and much more. Born in Lawrence County, South Carolina in 1895, Davis was raised by his grandmother, who made his first guitar for him. Learning from relatives and itinerant musicians, he also took up banjo and harmonica. His blindness was probably due to a congenital condition. By the time he was a young man he was considered among the elite musicians in his area of South Carolina where, as in most Southern coastal states, clean and fancy finger picking with emphasis on the melody was the favored style. Sometime in the early 1950's, Davis started a ministry and repudiated blues. In 1935, he recorded twelve gospel songs that rank among the masterpieces of the genre. In 1944, he moved to New York where he continued his church work, and sometimes did some street singing in Harlem. By the early 1960's, with the re-emergence of interest in traditional black music, Davis finally received the recognition and prominences he so richly deserved.
*******
Blow, Gabriel, Blow Lyrics


[RENO]
Brothers and sisters, we are here tonight to fight the devil...
Do you hear that playin'?

[COMPANY]
Yes, we hear that playin'!

[RENO]
Do you know who's playin'?

[COMPANY]
No, who is that playin'?

[RENO]
Well, it's Gabriel, Gabriel playin'!
Gabriel, Gabriel sayin'
"Will you be ready to go
When I blow my horn?"

Oh, blow, Gabriel, blow,
Go on and blow, Gabriel, blow!
I've been a sinner, I've been a scamp,
But now I'm willin' to trim my lamp,
So blow, Gabriel, blow!

Oh, I was low, Gabriel, low,
Mighty low, Gabriel, low.
But now since I have seen the light,
I'm good by day and I'm good by night,
So blow, Gabriel, blow!

Once I was headed for hell,
Once I was headed for hell;
But when I got to Satan's door
I heard you blowin' on your horn once more,
So I said, "Satan, farewell!"

And now I'm all ready to fly,
Yes, to fly higher and higher!
'Cause I've gone through brimstone
And I've been through the fire,
And I purged my soul
And my heart too,
So climb up the mountaintop
And start to blow, Gabriel, blow

[ALL]
Come on and blow, Gabriel, blow!

[RENO]
I want to join your happy band
And play all day in the Promised Land.
So blow, Gabriel, blow!
Come on you scamps, get up you sinners!
You're all too full of expensive dinners.
Stand up on your lazy feet and sing!

[ALL]
Blow, Gabriel, blow, (Blow, Gabriel!)
Go on and blow, Gabriel, blow. (Blow, Gabriel!)
I've been a sinner, I've been a scamp,
But now I'm willin' to trim my lamp,
So blow, Gabriel, blow.

I was low, Gabriel, low, (Low, Gabriel!)
Mighty low, Gabriel, low.
But now since that I have seen the light
I'm good by day and I'm good by night
So blow, Gabriel, blow.

[RENO]
Once I was headed for hell,
Once I was headed for hell;
But when I got to Satan's door
I heard you blowin' on your horn once more,
So I said, "Satan, farewell!"

And now I'm all ready to fly,
Yes, to fly higher and higher!
'Cause I've gone through brimstone
And I've been through the fire,
And I purged my soul
And my heart too,
So climb up the mountaintop
And start to blow, Gabriel, blow

[ALL]
Go on and blow, Gabriel, blow!

[RENO]
I want to join your happy band
And play all day in the Promised Land.
So blow, Gabriel!

[ALL]
Go on and...
Blow, Gabriel, blow
Blow, Gabriel, blow
Blow, Gabriel, blow
I wanna join your happy band
And play all day in the Promised Land,
So blow, Gabriel, blow, Gabriel, blow, Gabriel, blow!

Monday, April 23, 2012

***Out In The 1950s Be-Bop King Records R&B Night-“Dancing With The Devil”-A You Had Better Get In Line Because Her Dance Card Is Full- A CD Review

Click on the headline to link to a YouTube film clip of Lonnie Johnson high heaven singing the classic R&B, rock and rock, bop and stroll, Tomorrow Night. Yes, Lonnie is in the house.

DVD Review

Dancing With the Devil: 25 Essential Blues Classics, various artists, King Records. 2004


Okay, okay call me Mr. Janus, call me fickle, call me, well, call me perplexed. Every time I think I have it down pat, pat as can be, about what genre “fathered” (or “mothered”) my “generation of ’68” childhood growing up absurd in the half-benighted 1950s rock and roll birth I change course. Mainly it depends on what was the last CD, last YouTube click , or last whatever other source I have filled my head with. A couple of weeks ago it was definitely those mad men swing masters like Benny Goodman and his hard, sexy sax players (and occasional clarinet per Benny swingman). A couple of days later it was definitely Joe Turner be-bopping his big snapping fingers beat on Shake, Rattle and Roll putting later Elvis and Jerry Lee renditions in the shade. Last week it was most positively either Ike Turner and his Rocket 88 or rockabilly maven Warren Smith and his Rock and Roll Ruby. This week, well, this week it is the R&B influences represented by this King Records compilation, Dancing With The Devil: 25 Essential Blues Classics. So hear me out.

Look I grew up in that red scare, cold war, atomic bomb’s going to get you so you best put your sorry little head under that wooden desk and don’t ask questions dark night made darker by being left out of the great American golden age 1950s by, well, by being working class poor. I mean real poor. The music around the house was strictly country (Hank Williams, Earl Tubbs, etc.) representing my father’s rural Appalachian roots or that 1940s Frank, Bing, Rosemary Clooney, we won the world war so our songs rule stuff blaring out of the local holey radio station. It was not until I got my first transistor radio (look that up on Wikipedia if you are clueless about what that was (or is for old fogies, maybe). Then I could pirate my way to many midnight stations in the “comfort” (three boys to a room comfort so not much) of my room. And what I got at midnight was blues, or rather R&B coming from who knows where but not Boston (usually Chicago or New York) from people who distinctly did not sound like they were from Boston.

And they weren’t. They mainly had come north from the rural South in one of the waves of black migration up river (Mississippi River, okay), got jobs in the factories, or didn’t, and played music on the side at some electrified juke joint. Those who did make good music wound up making records for all kinds of “race” labels so there was no mystery as to why I didn’t know this music from around the house. But I knew it
from then on. And I know it now.

That now leads to this King Records compilation which, no question, has many, many riffs that sound a hell of a lot like the birth of rock and roll just now. Try Lonnie Johnson’s Tomorrow Night done later by Elvis, LaVern Baker, Jerry Lee and a million others. Or what about the beat in Wynonnie Harris’ All She Wants To Do Is Rock. How about Little Esther on Aged And Mellow Blues. Not good enough-try this. Wilbert Harrison on This Women Of Mine. Or the freaking rock beat on Earl King’s Don’t Take It So Hard. Okay now for the big ammo Joe Tex’s Another Woman’s Man and Hank Ballard’s Look At Little Sister. I thought that would get your attention. But let’s cut to the chase. The Stones and Beatles (and many others from the 1960s second wave British rock invasion) were spoon-fed on R&B and blues stuff. And while this particular song by Albert King, Don’t Throw Your Love On Me So Strong (good advice, by the way) is a little too late to have been at the roots of rock it has all the guitar riffs that those later groups thrived on. So I rest my case. Unless of course next week I hear Sonny Burgess’ Red-Headed Woman. Then call be Janus.

Sunday, April 22, 2012

***Out In The Be-Bop 1950s Night- The School Dance -Last Chance For Romance- A Final Nod To Dick Clark’s “American Bandstand”

Click on the headline to link to a YouTube film clip of The Angels performing Till.

CD Review

The Rock ‘N’ Roll Era: The ‘60s: Last Dance, Time-Life, 1991

As I have noted in reviewing The ‘50s: Last Dance of this Time-Life Roll ‘n’ Roll Era series I have spent tons of time and reams of cyberspace “paper” in this space reviewing the teenage culture of the 1950s, especially the inevitable school dance and the also equally inevitable trauma of the last dance. That event, the last dance that is, was the last chance for even shy boys like me to prove that we were not wallflowers, or worst. The last chance to rise (or fall) in the torrid and relentless pecking order of the social scene at school. And moreover to prove to that certain she that you were made of some sort of heroic stuff, the stuff of dreams, of her dreams, thank you very much. Moreover, to make use of that social capital you invested in by learning to dance, or the “shadow” of learning to dance at some Miss Somebody‘s Saturday morning dance studio. Egad.

Fair, enough, true enough, if only a rather short sketch of the preparations, the seemingly endless preparations for the ‘big night.’ A night that entailed getting into some serious grooming workouts, including procedures not usually a part of the daily toilet. Plenty of deodorant, hair oil, and breathe fresheners, no question. Moreover, endless energy used getting worked up about wardrobe, mode of transportation, and other factors that I have addressed elsewhere, and, additionally, factors contingent upon whether you were dated up or stag. All that need not be repeated here. What does stand some further inspection is something that has received scant notice in all this welter of detail, with the exception of that overblown coverage of the last dance. Nothing on the inner workings of the dance itself.

Actually, and I will only speak to the late fifties and early sixties but I am sure this observation will hold up for other times as well, there are two school dance sequels, that first tremulous middle school dance series, and the later even more significant high school dances. Age, more convoluted socials relationships, physical and sexual growth, changes in musical taste, attitudes toward life and toward the opposite sex (or nowadays, perhaps, same sex) all made them two distinct affairs, except the ubiquitous teacher chaperones to guard against all manner of murder and mayhem, or, more likely, someone sneaking out for butts, booze or off-hand nuzzling (or, have mercy, all three). I will keep strictly to the high school dance scene here since the compilation under review includes musical selections that were current in the time of my high school time.

These musical selections "spoke" to that gnawing feeling in the back of your mind, half hidden by massive teenage psychic overlay, of the need to take a constant survey of what is going on in your little so-called world. A moment's glazed stare as you wait to get into the dance venue allows you to think through the litany of problems to be addressed as soon as you get a breather. Shall I give examples?

For example; being stood up for a date; or when that certain he or she did not call; or that certain he or she had another date; or that certain "unto death" friend of yours took that certain he or she away from you; or when that certain he or she said no, no for any number of things but you know the real “no,” right?; or, finally, that mournful, pitiful midnight crying time when sometime he or she, did or did not do, or did or did not say, or he or she forget to remember, and so on. But those issues will wait for another day because right now the doors are opening and you have more pressing issues in your heated little mind. Hope drives your every move from here on in.

I don’t have to spend much time on the physical and technical details of the dance, hell, you can describe them in your sleep. And if you can’t do so watch a film like 1973’s American Graffiti, the segment on the local high school dance, as I have noted previously, once you get indoors could have been 1962 anyplace U.S.A. (and I am willing to bet anytime U.S.A., as well. For this baby-boomer, that particular high school dance, could have taken place at my high school when I was a student in the early 1960s). From the throwaway crepe paper decorations that festooned the place placed around the gym by the ever helpful Girls Club or Tri-Hi-Y up to the ever-present foldaway gym bleachers to those evil-eyed chaperones to the platform the local band (a band that if it did not hit it big would go on to greater glory at our future weddings, birthday parties, and other important occasions) covering the top hits of the day performed on it was a perfect replica of my own experience.

Also perfect replica in that film were the classic boys’ attire for a casual dance, plaid or white sports shirt, chinos, stolid shoes, and short-trimmed hair (no beards, beads, bell-bottoms, it’s much too early in the decade for that) and for the girls blouses (or maybe sweaters, cashmere, if I recall being in fashion at the time, at least in the colder East), full swirling dresses, and, I think beehive hair-dos. Wow! Of course, perfect replica were the infinite variety of dances (frug, watusi, twist, stroll, etc) that blessed, no, twice blessed, rock and roll let us do in order to not to have to dance too waltz close. We all owe Chubby Checker and Gary U.S. Bonds a debt that can never be repaid. Mercy.

Damn, my going on and on about the physical descriptions is just so much eye wash. The thing could have been held in an airplane hangar for all we really cared. And everyone could have been dressed in paper bags. What mattered, and maybe will always matter, are the hes looking at those certain shes, and visa-versa. The endless small meaningful looks (if stag, of course, eyes straight forward if dated up, or else bloody hell). Except for those wallflowers that are permanently looking down at the ground, and pleased to be doing it. And that, my friends, is the real struggle that went on in those events, for the stags. The struggle against wallflower-dom. The struggle for at least some room in the social standing, even if near the bottom, rather than outcaste-dom.

That struggle was as fierce as any class struggle old Karl Marx might have projected. The straight, upfront calculation (and not infrequently miscalculation)of those evil eyes, the maneuvering, the averting of eyes, the not averting of eyes, the reading of silence signals, the uncomprehended "no", the gratuitous "yes." Need I go on? I don’t think so, except, if you had the energy, or even if you didn’t, then you dragged yourself to that last dance. And hoped, hoped to high heaven that it was a slow one. Ah, to be young was very heaven as old man Wordsworth had it in another context. Enough memory said.

Stick outs on this CD compilation include: the late legendary blue artist Etta James’ Something’s Got A Hold On Me (fast); The Angels’ Till (slow, ouch! on feet); Bo Diddley’s Road Runner (fast); and Donnie Brooks’ classic (the one you prayed they would play) Mission Bell. How is that for dee-jay even-handedness?
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'Till lyrics

Till the moon deserts the sky
Till the all the seas run dry
Till then I'll worship you

Till the tropic sun turns cold
Till this young world grows old
My darling, I'll adore you

You are my reason to live
All I own I would give
Just to have you adore me, oh, oh, oh

Till the rivers flow upstream
Till lovers cease to dream
Till then I'm yours, be mine

instrumental interlude

You are my reason to live
All I own I would give
Just to have you adore me

Till the rivers flow upstream
Till lovers cease to dream
Till then I'm yours, be mine

***When Willie Sutton’s Theory Of Capitalism Ruled The Roost- Woody Allen’s “Take The Money And Run”- A Film Review

Click on the headline to link to a Wikipedia entry for Woody Allen’s Take The Money And Run.

DVD Review

Take The Money And Run, Woody Allen, 1969

This is an early film of comedian /actor/director Woody Allen starring himself in the lead as Virgil Starkwell, a bungling wannabe bank robber whose hijinks land him in prisons, in bed with a lovely girl and the halls of academia as an expert on crime. In this film we can see the outlines of Woody’s seemingly endless love affair with early black and white crime and film noir classics. There is a little more use of sight gags here than in his later films but through it all Woody is still the funny bumbling New York Jewish kid that a long series of films will explore in greater detail. The use of an old time newsreel announcer to describe and set the framework of the film and detail the action is an interesting twist. Not the best Woody Allen film but a good look at the niche that he created for himself in American urban comedy/ social commentary cinema.

***Patsy Cline, Brenda Lee And The Battle Of The Sexes-Round 236

Click on the headline to link to a YouTube film clip of Patsy Cline performing "She’s Got You."

Patsy Cline: Greatest Hits, Patsy Cline, MCA Records, 1991

Sometimes one cannot win in this wicked old world. A few years ago, after some serious prodding bordering on violations of the Genera Conventions against torture which certainly, now in retrospect, warrant further investigation, further criminal investigation, I was asked by the chairperson of my North Adamsville High School Class 1964 (ouch!) Reunion Committee to answer certain questions about my likes and dislikes back in the day. The alleged purpose of this exercise (other than to see if we were still youthfully sharp) was to compile a survey /sketch of class life in the long ago misty 1960s. There was, moreover, a certain method to her madness that I did not catch onto as quickly as I should have if I had had my proper "forget high school days" guard up, as she probed by stages.

If you know something about interrogation techniques this may sound familiar. She started off with easy stuff. You know like favorite sports (easy, as a participant, running, maybe running scared, if that is a sport, but, more importantly, as a spectator our beloved raider red and black-bled football team which held even me in thrall as they ground it out on the gridiron on those granite grey autumn Saturday afternoons yelling myself, and not just me, hoarse), favorite teachers (the usual suspects, a bevy of hard-bitten, hard-nosed, grindstone-touting English and history bugs), favorite school lunch (none of the above but I should have become more suspicious with that question because I, and I know others from the class who even now refuse, refuse on principle, to have anything to do with pizza in the sixty-six guises that passed for lunch five days a week, sometimes as American chop suey even). She then worked her way into more intimate stuff like personal tastes in music. Obviously after she reeled us in, such a profound question required answers, especially for those of us who considered ourselves nothing but unabashed children of rock and roll.

But she devised even more malignant tricks as she unfolded her CIA-like probes. She posed the questions very specifically and asked what she probably thought we would think was an innocuous question: in your youth did you prefer The Rolling Stones or the Beatles? Innocent, right? Pick one or the other. I did and went on and on about how the Stones lit my flamed-out youth on fire, how I came to the blues via their cover of Howlin’ Wolf’s (really Willie Dixon’s) Little Red Rooster (banned in Boston, moreover, that made it just that much more appealing) etc. ,etc.

Are you with me so far? Then, out of nowhere, or at least nowhere for a child of rock and roll, she asked about this combination- the Brenda Lee versus Patsy Cline shoot-out. What, are you kidding? I cavalierly dismissed the notion of either singer having the slightest influence on my budding manly rock persona and refused, purposefully refused, to answer (okay, okay I put N/A). No big deal this is America after all and N/A is part of the democratic tradition if frowned upon by partisans. End of story.

Not though when my "significant other" (known in the old days, in polite society, as my paramour and in impolite society as...oh, well you can fill in the blank) finished reading my response (I had off-handedly shown it to her for some laughs). The gist of her indignant argument centered on my alleged testosterone-driven choices of male Rock 'n' Roll bands like the Stones to the exclusion of kinder, gentler music-in short, choices that women might prefer. Okay, I took the point and then made my female singer selection. Naturally, I need to make a little comment to motivate my choice.

Frankly, like I said, I really do not remember being a fan of either Brenda Lee or Patsy Cline in my youth. Both names are associated in those high school memories with dreamy school dances or other types of romantic endeavor. It was not until several years ago that I came to appreciate Patsy Cline's work. I have always been a sucker for female torch- singers like Billie Holiday and the young Peggy Lee in her Benny Goodman period but Patsy only recently became part of my musical interests as a country "torch" singer.

Frankly, on the face of it Patsy Cline would not have fallen under my idea of a torch singer back in the day. That is, until you heard that voice coming out of the past to chill you to the marrow with her heart-rending renditions of some very classic country and crossover ballads. For those of us who came of age in the late 1950’s or early 1960’s this was the music at the high school dance where you got to ask that guy or girl that you had your eye on for that slow dance that gave you time to talk and feel out the situation. A retrospective thanks, Patsy. This two CD set contains so many classics it is hard to know where to begin but I counted at least 20 that you need to listen to. That, my friends, rather says it all. Classic Hank William tunes like Your Cheating Heart, Willie Nelson’s Crazy, others like He’s Not You and She’s Got Him. Wow. A few non-ballad novelty type songs could have been leave out and done no damage but when you look at the overall package. Again, WOW.

One last word. My last word. Let me get back to that controversy with my "significant other" (I prefer "soul-mate" but I will let that pass here). I mentioned in that hard-nosed class reunion questionnaire that in the summer of 2005 I attended a Rolling Stones concert at Fenway Park. Now who do you think was standing beside me shaking, as the kids say, her "booty" for all she was worth? So much for that testosterone theory. Moreover, who imprisoned me in Fenway Park practically at gunpoint, until I bought her a sassy little Stones T-shirt as a memento of the occasion? Enough said.

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Here Are Some Lyrics For Brenda and Patsy So You Can Make An Informed Decision On These Burning Questions Of The Day.

Brenda Lee - I'm Sorry lyrics


Lyrics to I'm Sorry :

I'm sorry, so sorry
That I was such a fool
I didn't know
Love could be so cruel
Oh, oh, oh, oh
Uh, oh
Oh, yes

You tell me mistakes
Are part of being young
But that don't right
The wrong that's been done

Spoken:
(I'm sorry) I'm sorry
(So sorry) So sorry
Please accept my apology
But love is blind
And I was to blind to see
Oh, oh, oh, oh
Uh, oh
Oh, yes

You tell me mistakes
Are part of being young
But that don't right
The wrong that's been done
Oh, oh, oh, oh
Uh, oh
Oh, yes

I'm sorry, so sorry
Please accept my apology
But love was blind
And I was too blind to see
(Sorry)

She's Got You Lyrics

Artist: Patsy Cline


I've got your picture that you gave to me
And it's signed with love just like it used to be
The only thing different, the only thing new
I've got your picture, she's got you

I've got the records that we used to share
And they still sound the same as when you were here
The only thing different, the only thing new
I've got the records, she's got you

I've got your memory, or, has it got me?
I really don't know but I know it won't let me be

I've got your class ring that proved you cared
And it still looks the same as when you gave it, dear
The only thing different, the only thing new
I've got these little things, she's got you

I've got your memory, or, has it got me?
I really don't know but I know it won't let me be

I've got your class ring that proved you cared
And it still looks the same as when you gave it, dear
The only thing different, the only thing new
I've got these little things, she's-got-you