Maverick Philosopher

Not Dark Yet

 Tomorrow, Bob Dylan turns 81.

Can one get tired of Dylan? That would be like getting tired of America. It would be like getting to the point where no passage in Kerouac brings a tingle to the spine or a tear to the eye, to the point where the earthly road ends and forever young must give way to knocking on heaven's door. The scrawny Jewish kid from Hibbing Minnesota, son of an appliance salesman, was an unlikely bard, but bard he became. He's been at it a long, long time, and his body of work is as vast and as variegated as America herself. We old fans from way back who were with him from the beginning are still finding gems unheard as we ourselves enter the twilight where it's not dark yet, but getting there. But it is a beautiful fade-out from a world that cannot last.

A tip of the hat to Bro Inky for sending me to Powerline where Scott Johnson has a couple of celebratory pieces with plenty of links to Dylan covers. Here's one and here's the other. An excerpt from the first:

In his illuminating City Journal essay on Pete Seeger — “America’s most successful Communist” — Howard Husock placed Dylan in the line of folk agitprop in which Seeger took pride of place. Husock’s essay is an important and entertaining piece. Dylan is only a small part of the story Husock has to tell, however, and Husock therefore does not pause long enough over Dylan to observe how quickly Dylan burst the confines of agitprop, found his voice, and tapped into his own vein of the Cosmic American Music. Looking back on his long career, one can discern his respect for the tradition as well as his ambition to take his place at its head.

Saturday Night at the Oldies: Heart Failure

There is heart failure of the electrical and hydraulic sort and there is custody-of-the-heart failure. Which is worse? Well, which is better, our spiritual or our physical health?

Johnny Cash: "I keep a close watch on this heart of mine."

Elvis Presley: "I can't help falling in love with you." Andrea Bocelli in Las Vegas

Bea Wain, Heart and Soul, 1939.  

Neil Young, Heart of Gold

Tom Waits, Heart Of Saturday Night

Marcels, Heartache, 1961

Linda Ronstadt, Heart Like a Wheel

Holy Saturday Night at the Oldies

Herewith, six definite decouplings of rock and roll from sex and drugs.

Norman Greenbaum, Spirit in the Sky

Johnny Cash, Personal Jesus. This is one powerful song.

Clapton and Winwood, Presence of the Lord. Why is Clapton such a great guitarist? Not because of his technical virtuosity, his 'chops,' but because he uses them to say something. You don't agree? De gustibus non est disputandum!

George Harrison, My Sweet Lord

George Harrison, Hear Me Lord

George Harrison, All Things Must Pass.  Harrison was the Beatle with depth. Lennon the radical, McCartney the romantic, Starr the regular guy.

Saturday Night at the Oldies: Rydell Remembered

Bobby Rydell has died at age 79.

In the late '50s, early '60s a number of Italian-American singers changed their names to avoid anti-Italian prejudice and to assimilate. Rydell was among them. Assimilation, however, is a thing of the past, and the current lack thereof is a good part of our nation's decline.  But I digress. 

Before Bobby Darin became Bobby Darin he rejoiced under the name, Walden Robert Cassotto.  Dream Lover.  18 Yellow Roses. You're the Reason I'm Living.

Bobby Rydell started out Robert Ridarelli.  Forget Him.  Volare. "Letsa fly . . . ."  We Got Love.

No, his name wasn't Dino Martino, it was Dino Paul Crocetti.  Schmaltzy as it is, That's Amore captures the Nagelian what-it's-like of being in love.  Houston.

Concetta Rosa Maria Franconero, better known as Connie Francis. My Darling Clementine. Never on Sunday.  

Timoteo Aurro = Timi Yuro.  When I first heard her back in the day, I thought she was black.  What a voice!  What's the Matter, Baby?  Her signature number: Hurt.

Laura traded in 'Nigro' for 'Nyro.'  Wedding Bell Blues.   And When I Die.  These go out to Monterey Tom, big L.N. fan.  Nyro died young in 1997 of ovarian cancer, 49 years of age.

Joseph Di Nicola (Joey Dee and the Starlighters), Peppermint Twist, with an intro by Dwight D. Eisenhower!  This video shows what the dude looked like. Resembles a super short Joe Pesci.  What Kind of Love is This?

Your Vehicle

Keep it roadworthy. But it's only a vehicle. And life's only a road.

And don't forget to take it easy. We're going to the end of the line.

Saturday Night at the Oldies: Sartorial Songs

In Chapter 42 of his Essays, Montaigne remarks that

We praise a horse for its strength and speed, not on account of its harness; a greyhound for its swiftness and not its collar; a hawk for its wing and not for its jesses and bells. Why then do we not value a man for what is his? . . . If you bargain over a horse, you remove its trappings, you see it bare and uncovered . . . . Why, when estimating a man, do you estimate him all wrapped and muffled up? . . . We must judge him by himself, not by his attire. (Tr. E. J. Trechmann)

I am tempted to agree by saying what I once said to my mother when she told me that clothes make the man, namely, that if clothes make the man, then the kind of man that clothes make is not the kind of man I want to be. (Women are undeniably more sensitive than men to the fact that the world runs on appearances. They have a deep intuitive understanding of the truth that the Germans express when they say, Der Schein regiert die Welt.)

But there is another side to the problem, one that the excellent Montaigne ignores. A horse does not choose its bit and harness, but has them imposed on it. A man, however, chooses how he will appear to his fellows, and so choosing makes a statement as to his values and disvalues. It follows that there is some justification in judging by externals. For the externals we choose, unlike the externals imposed on a horse, are defeasible indicators of what is internal. In the case of human beings, the external is not merely external: the external is also an expression of the internal. Our outer trappings express our attitudes and beliefs, our allegiances and alignments.

But enough philosophy!  Punch the clock. Tomorrow's another day. On to some tunes.  Pour yourself a stiff one. We get things off to a rousing start this fine Saturday evening with

ZZ Top, Sharp-Dressed Man.  This one goes out to Mike Valle who is definitely strutting his sartorial stuff these days.

Bobby Whitlock and Eric Clapton, Bell Bottom Blues.  Sticking with the 'blue' theme:

Bobby Vinton, Blue Velvet.  Check out the Lana Del Rey version.  And of course, this from the moody & mesmerizing David Lynch flick.

Carl Perkins, Blue Suede Shoes.  The Perry Como Show (sic!), 1956.

Mitch Ryder, Devil with the Blue Dress On

Jimmy Clanton, Venus in Blue Jeans, 1962

Bob Dylan, Leopard-Skin Pill-Box Hat

Bob Dylan, Boots of Spanish Leather

Del Shannon, Hats Off to Larry

Bobby Bare, Long Black Veil

Jane Russell, Buttons and Bows

Johnny Cash, Man in Black

Big Bopper, Chantilly Lace, 1958

But:

Can you judge a man by the way he wears his hair?
Can you read his mind, by the clothes that he wears?
Can you see a bad man by the pattern on his tie?
Then Mr. You're a Better Man Than I!

Saturday Night at the Oldies: Some 1940's Proto-Rock

Freddie Slack and Will Bradley Trio (1940), Down the Road A Piece.

If you like to boogie woogie, I know the place.
It's just an old piano and a knocked out bass.
The drummer man's a guy they call Eight Beat Mack.
And you remember Doc and old "Beat Me Daddy" Slack.

Man it's better than chicken fried in bacon grease
Come along with me, boys, it's just down the road a piece.

Ella Mae Morse (1945), The House of Blue Lights.  Shows that 'square' and 'daddy-o' and 'dig' were already in use in the '40s.  I had been laboring under the misapprehension that this patois first surfaced in Beat/Beatnik circles in the '50s.

St. Valentine's Day at the Oldies: Love and Murder

We'll start with murder.  David Dalton (Who Is That Man? In Search of the Real Bob Dylan, Hyperion 2012, pp. 28-29, hyperlinks added!):

Most folk songs had grim, murderous content (and subtext). In Pretty Polly a man lures a young girl from her home with the promise of marriage,and then leads the pregnant girl to an already-dug grave and murders her.  In Love Henry, a woman poisons her unfaithful lover, observed by an alarmed parrot that she also tries to kill. So it was a bit bizarre that these songs should become part of the sweetened, homogenized new pop music.

[. . .]

The original folk songs were potent, possessed stuff, but the folk trios had figured out how to make this grisly stuff palatable, which only proved that practically anything could be homogenized. Clean-cut guys and girls in crinolines, dressed as if for prom night, sang ancient curse-and-doom tales.  Their songs had sweet little melodies, but as in nursery rhymes, there was a dark gothic undercurrent to them -- like Ring Around the Rosies, which happens to be a charming little plague song.

The most famous of these folk songs was the 1958 hit Tom Dooley, a track off a Kingston Trio album which set off the second folk revival [the first was in the early '40s with groups like the Weavers] and was Dylan's initial inspiration for getting involved in folk music.  [I prefer Doc Watson's version.] And it was the very success of the syrupy folk trios that inspired Dylan's future manager to assemble one himself: Peter, Paul and Mary.  They would make Dylan, the prophet of the folk protest movement, a star and lead to consequences that even he did not foresee.  Their version of Blowin' in the Wind would become so successful that it would sound the death knell for the folk protest movement.  Ultimately there would be more than sixty versions of it, "all performing the same function," as Michael Gray says, of "anesthetizing Dylan's message."

Be that as it may, it is a great song, one of the anthems of the Civil Rights movement.  Its power in no small measure is due to the allusiveness of its lyrics which deliver the protest message without tying it to particular events.  It's topical without being topical and marks a difference between Dylan, and say, Phil Ochs.

And now for some love songs.

Gloria Lynne, I Wish You Love.  A great version from 1964.  Lynne died at 83 in 2013.  Here's what Marlene Dietrich does with it.

Ketty Lester, Love Letters.  Another great old tune in a 1962 version.  The best to my taste.

Three for my wife.  An old Sam Cooke number, a lovely Shirelles tune, and my favorite from the Seekers.

Addenda:

1. Keith Burgess-Jackson quotes Jamie Glazov on the hatred of Islamists and leftists for St. Valentine's Day.  Another very interesting similarity between these two totalitarian movements.  Recalling past inamorata while listening to sentimental songs  -- is this not the height of bourgeois self-indulgence when you should be plotting ways to blow up the infidel or bring down capitalism?  But we who defend the private life against totalitarian scum must be careful not to retreat too far into the private life.  A certain amount of activism and engagement is necessary to keep the totalitarians in check.

2. On Thomas Merton: “All the love and all the death in me are at the moment wound up in Joan Baez’s ‘Silver Dagger,’” the man wrote to his lady love in 1966. “I can’t get it out of my head, day or night. I am obsessed with it. My whole being is saturated with it. The song is myself — and yourself for me, in a way.”

Don't sing love songs, you'll wake my mother
She's sleeping here right by my side
And in her right hand a silver dagger,
She says that I can't be your bride.

All men are false, says my mother,
They'll tell you wicked, lovin' lies.
The very next evening, they'll court another,
Leave you alone to pine and sigh.

My daddy is a handsome devil
He's got a chain five miles long,
And on every link a heart does dangle
Of another maid he's loved and wronged.

Go court another tender maiden,
And hope that she will be your wife,
For I've been warned, and I've decided
To sleep alone all of my life.

Saturday Night at the Oldies: Varia

First off, a big 10-4 to the Canadian truckers and their American confreres. The purpose of government is to serve the governed, not oppress them and violate their rights. Political legitimacy derives from the consent of the governed. Pseudo-cons such as George F. Will and his ilk yap and scribble about this concept, but that is as far as it goes for them. The truckers have taken action and put their careers on the line in defense of the rights that the totalitarians are bent on violating.

Eddy Rabbit, Drivin' My Life Away

Dave Dudley, Six Days on the Road

Buck Owens, Truck Drivin' Man

Red Sovine, Phantom 309. Tom Waits' cover. 

Lynyrd Skynyrd, Truck Drivin' Man

Bob Dylan, Rollin' and Tumblin'

Johnny Rivers, Summer Rain

Saturday Night at the Oldies: Varia and Americana

I post what I like and I like what I post.

Elmore James, Dust My Broom

Doors, Crystal Ship

Clancy Bros., When the Ship Comes In.

Elvis Presley, Marie's the Name of His Latest Flame

Elvis Presley, Spanish Eyes

Bob Dylan, It Takes a Lot to Laugh, It Take a Train to Cry, Cutting Edge take. 

Albert King, Crosscut Saw

Mississippi Sheiks, Sitting on Top of the World

YouTuber comment: "There is enough great music to listen to for a thousand years without ever having to listen to mindless shite if only people would explore the past." That's no shite, son.

Byrds, Chimes of Freedom.  One of Dylan's greatest anthems.

Buffy Sainte-Marie, Cod'ine

An equally powerful version by Janis Joplin

Mike Bloomfield, Carmelita Skiffle

A bar or two is all it takes recognize the signature sound of Michael Bloomfield, Jew, who exemplifies cultural appropriation at its best. My second guitar hero. My first was Dick Dale who, though not a Jew, gave us a version of Misirlou.

Warren Zevon, Carmelita

Billy Joel, Piano Man

Don MacLean, American Pie

 

Saturday Night at the Oldies: More Americana

Tim Hardin, Lady Came from Baltimore

Arlo Guthrie, Percy's Song. Dylan's 1963 original

Byrds, Pretty Boy Floyd

Marty Robbins, El Paso

Bob Dylan, Red Cadillac and a Black Moustache

Bob Luman, Let's Think About Livin'

Charley Ryan, Hot Rod Lincoln, the original.  Before Johnny Bond, before Commander Cody. 

Dave Dudley, Six Days on the Road

Red Sovine, Phantom 309. Tom Waits' cover. YouTuber comment:

I don't know what it is about this particular Tom Waits song. Out of all the music I've heard, this is the only one that tears me up from the first chord. I'm a big boy, all grown-up. But I'm helpless to stop those tears. I've seen my fair share, and more, of pain and suffering and death, and so should be fairly immune to such sentimentality. Many songs are supposedly more tear-jerking, . . .  but NOT ONE moves me like this. Maybe because I used to hitchhike a lot? Maybe because I've seen, and been involved in, several car accidents? Maybe because a trucker friend was drowned when the ferry he was travelling on sunk? I don't know. I've always appreciated, and liked a lot, Tom Waits' compositions and performances, and yet this one song captures me completely, emotionally. Perhaps I'm turning into a softy. More likely, I'm just getting too old for this life. Answers on a postcard, please... (Tom Foyle)

Yes, one can get too old for this life.

Saturday Night at the Oldies: Americana

Buffy Sainte-Marie, I'm Gonna be a Country Girl Again

Hoyt Axton, Greenback Dollar

Nanci Griffith, Boots of Spanish Leather

16 Horsepower, Wayfaring Stranger

Stanley Bros., Rank Strangers

Bob Dylan, I am a Lonesome Hobo. Have you heard this version?

Bob Dylan, As I Went Out One Morning

Highwaymen, The City of New Orleans

Kenny Rogers, The Gambler

Buffy Sainte-Marie, Cod'ine

Bob Dylan, Only a Hobo, 1963

Saturday Night at the Oldies: Out with the Old, In with the New

Happy New Year, dear readers. I wish you all the best for the coming year. 

Neil Young, Old Man 

Bob Seger, Old Time Rock and Roll. Does it really soothe the soul? Or does it stimulate something 'south' of the soul? If the soul has a bodily locus or point of attachment, where would it be? But I am done thinking for the day. Time to feel. Balance in all things, including balance.

The Band, The Night They Drove Old Dixie Down

Tom T. Hall, Old Five and Dimers Like Me

John Fogerty, The Old Man Down the Road

Ray Charles, Ol' Man River

Bob Dylan, New Morning

Eagles, New Kid in Town

And many more . . . .

Such Sweet Sorrow

Part of what makes "parting such sweet sorrow" (Shakespeare, Romeo and Juliet) is the realization that one may never see the beloved again alive. Death presides over all of life; in leave-taking he steps out of the shadows. You see the glint of his scythe from the corner of the eye.

In the twilight glow, I see her
Blue eyes crying in the rain;
As we kissed goodbye and parted,
I knew we'd never meet again.

Love is like a dying ember,
Only memories remain;
Through the ages I'll remember,
Blue eyes crying in the rain.

Now my hair has turned to silver,
All my life I've loved in vain;
I can see her star in heaven,
Blue eyes crying in the rain.

Someday when we meet up yonder,
We'll stroll hand in hand again;
And in a land that knows no parting,
Blue eyes crying in the rain.

Blue eyes crying in the rain.

Written by Fred Rose and first recorded by Roy Acuff in 1947. Numerous covers.

A little known version by Ramblin' Jack Elliot.

Saturday Night at the Oldies: Women and Girls

Where would we be without them? Languishing in the sphere of the merely possible. On the other hand, "Pretty girls make graves." (Jack Kerouac, Dharma Bums)

Roy Orbison, Pretty Woman. Mercy! See how many of the sidemen you can identify. A great song that blends the the tender & romantic with the thrustingly Dionysian.

Bob Dylan, Just Like a Woman. I won't say anything, lest I gush, my romanticism loosened by a delicious blend of tequila and Campari.  The polished Blonde on Blonde version. Van Morrison pays tribute here.

Bob Dylan, Girl from the North Country

Van Morrison, Brown Eyed Girl. This one goes out to Kathy H.

Aretha Franklin, Natural Woman. Written by Carole King. Her version.

Rolling Stone, Honky Tonk Woman

Santana, Black Magic Woman

Eric Clapton, Have You Ever Loved a Woman?

Ray Charles, I Got a Woman, 1954

Peter and Gordon, Woman 

Elvis Presley, Santa Lucia

Andrea Bocelli, Ave Maria (Franz Schubert)

And many more . . . .

Saturday Night at the Oldies: Nonsense Titles and Lyrics

I'm a serious man, as serious as cancer some would say. But it's Saturday night, a night on which I allow myself a drink or two and some nostalgic indulgence.  Tonight, the unseriousness of nonsense titles and lyrics.

The Rivingtons, Papa Oom Mow Mow

The Trashmen, The Bird is the Word. It is not about Bird's Opening. A partial rip-off of the Rivingtons. Cultural appropriation?

Shirley Ellis, The Nitty Gritty Is 'nitty gritty' a racist dog whistle?

Shirley Ellis, The Name Game, long version. You didn't know there was a long version? Another reason you need my blog.

The Crystals, Da Doo Ron Ron 

Captain Beefheart, Abba Zaba. I'd like to see a transcription of these lyrics. California's Mojave desert can do some strange things to your head.

Manfred Mann, Doo Wah Diddy Diddy

Arthur "Blind" Blake, Diddy Wah Diddy, 1929.  Very nice guitar work. "I wish someone would tell me what 'Diddy Wah Diddy' means."

Little Richard, Tutti Frutti

The Chips, Rubber Biscuit, 1956

Beatles, Ob-La-Di Ob-La-Da

Eric Clapton, Hootchie Kootchie Man. This one goes out to Ed Buckner.  Solo starts at 2:45. Cultural appropriation at its finest.

Saturday Night at the Oldies: 'Babe' and 'Baby' Songs

With half-apologies to overly sensitive feministas. Look, real men love and respect women and they use these words as terms  of endearment. Take a powder!

Sonny and Cher, I Got You Babe, 1965. Don't let them say your hair's too long!

Bob Dylan and Joan Baez, It Ain't Me Babe, 1964. Note how Joan mothers the young Bob. Turtles' 1965 cover. Baez solo version.

Bob Dylan, It's All Over Now, Baby Blue, 1965. This one goes out to Charaine H.

Beatles, Baby's in Black

Ronettes, Be My Baby, 1963.

Bob Dylan, Baby Let Me Follow You Down, 1962. The surging harmonica near the beginning does it for me every time. 

Traveling Wilburys, She's My Baby, 2007.

Charles Brown, Merry Christmas, Baby

Dion Dimucci with John Hammond, My Baby Loves to Boogie, 2020.

Beach Boys, Don't Worry Baby, 1964.

Bob Dylan, I'll Be Your Baby Tonight, 1968.

Them, Baby Please Don't Go.  Muddy Waters, 1953.

Bruce Channel, Hey Baby! Date? Early '60s.

Ronettes, Baby, I Love You. 

Drifters, There Goes My Baby, 1959.

Shirelles, Baby it's You, 1961.

Turtles, You Baby, 1966.

Dino Paul Crocetti, better known as Dean Martin, Melancholy Baby. From Steubenville, Ohio, if memory serves, as it usually does.

Dave Bagwill, my favorite Oregon luthier, recommends:

Baby Love - Supremes

 

You Don't Have to be a Baby to Cry - The Caravelles

Saturday Night at the Oldies: Dylan on Rick Nelson and James Burton

Bob Dylan, Chronicles, Volume One (Simon and Shuster, 2004), p. 13:
 
He was different from  the rest of the teen idols, had a great guitarist who played like a cross    between a honky-tonk  hero and a barn-dance fiddler. Nelson had never been a bold innovator like the early singers who sang like they were navigating burning ships. He didn't sing desperately, do a lot of damage, and you'd never mistake him for a shaman. 

Nosiree, Bob, no shaman was he. There is more interesting material on Nelson in the vicinity of this excerpt. Dylan discusses Ricky Nelson in connection with his 1961 hit, Travelin' Man. But the great guitar work of James Burton to which Dylan alludes was much more in evidence in Hello Mary Lou. The Dylan Chronicles look like they will hold the interest of this old 60's Dylan fanatic.

Here is a better taste of James Burton and his Fender Telecaster with Elvis Presley.  And here he is with the Big O dueling with Springsteen.  Here he jams with Nelson's sons.  Orbison on Nelson.

It has been over thirty years now since Nelson died in a plane crash while touring. The plane, purchased from Jerry Lee Lewis, went down on New Year's Eve 1985. That travelin' man died with his boots on -- as I suspect he would have wanted to. In an interview in 1977 he said that he could not see himself growing old.

Be careful what you wish for.

Saturday Night at the Oldies: Kitsch, Sentimentality, and Dylan

April Stevens' and Nino Tempo's version of Deep Purple  became a number one hit in 1963. I liked it when it first came out, and I've enjoyed it ever since. A while back I happened to hear it via Sirius satellite radio and was drawn into it like never before. But its lyrics, penned by Mitchell Parish, are pure sweet kitsch: 

When the deep purple falls over sleepy garden walls
And the stars begin to twinkle in the night
Through the mist of a memory you wander back to me
Breathing my name with a sigh.

 In the still of the night once again I hold you tight
Though you're gone, your love lives on when moonlight beams
And as long as my heart will beat, sweet lover we'll always meet
Here in my deep purple dreams.

Kitsch is bad art, but what is the essence of kitsch, and why is it bad? Presumably it is sentimentality that makes kitsch kitsch, and it is this sentimentality that makes kitsch aesthetically and perhaps even morally dubious. One self-indulgently 'wallows' in a song like this, giving into its 'cheap' emotions. The emotions are 'false' and 'faked.' The melody and lyrics are formulaic and predictable, 'catchy.' The listener allows himself to be manipulated by the songwriter who is out to 'push the listener's buttons.' The aesthetic experience is not authentic but vicarious. And so on. Theodor Adorno would not approve.

There is great art and there is kitsch. I partake of both, enjoy both, and know the difference. What is wrong with a little kitsch in moderation? No, I don't collect Hummel figurines and my stoa is not carpeted with astroturf. What is sentimentality and what is wrong with it? There is a literature on this, but I've read almost none of it.  Who has time? 

This brings me to Bob Dylan who was awarded the 2016 Nobel Prize in Literature.  Now I've been a Dylan fan from the early '60s.  In the '60s  I was more than a fan; I was a fanatic who would brook no criticism of his hero.  And I still maintain that in the annals of American popular music no one surpasses him as a songwriter.  

But the Nobel Prize for Literature?  That's a bit much, and an ominous foreshadowing of the death of the book and of quiet reading in this hyperkinetic age of tweets and sound bites.  A large theme.  Get to it conservative bloggers.  Why do I have to do all the work?

Dylan's most sentimental song?  I don't know, but Forever Young is in serious contention.  

A long, long way from It's Alright Ma, I'm Only Bleeding and Visions of Johanna (Marianne Faithful) and Desolation Row. Here is the original of Visions of Johanna. 

Saturday Night at the Oldies: Beethoven, Billy Bob, and Peggy Lee

The Man Who Wasn't There is one of my favorite movies, and the best of Ludwig van Beethoven is as good as classical music gets.  So enjoy the First Movement of the Moonlight Sonata to the masterful cinematography of the Coen Brothers.

Here is the final scene of the movie.  Ed Crane's last words:

I don't know where I'm being taken.  I don't know what I'll find beyond the earth and sky.  But I am not afraid to go.  Maybe the things I don't understand will be clearer there, like when a fog blows away.  Maybe Doris will be there. And maybe there I can tell her all those things they don't have words for here.

That is the way I see death, as an adventure into a dimension, into "the undiscovered country from whose bourn no traveller returns," in which we might come to understand what we cannot understand here, a movement from night and fog into the clear light of day.  It is a strange idea, I admit, the idea that only by dying can one come into possession of essential knowledge.  But no more strange  than the idea that  death leaves the apparent absurdity of our existence unredeemed, a sentiment expressed in Peggy Lee's 1970 Is That All There is?

Saturday Night at the Oldies: Route 66 and Kerouac's Favorite Song

Jack Kerouac in a letter from 17 January 1962: "Everybody is making money off my ideas, like those "Route 66" TV producers, everybody except me . . . ." (Selected Letters 1957-1969, ed. Charters, Viking 1999, p. 326; see also p. 461 and pp. 301-302.)  Here is the Nelson Riddle theme music from the TV series.  And here is part of an episode from the series which ran from 1960-1964.  George Maharis bears a striking resemblance to Jack, wouldn't you say? And notice Maharis is riding shotgun.  Kerouac wasn't a driver.  Neal Cassady was the driver.

Now dig Bobby Troup.  And if that's too cool for you, here is Depeche Mode.  Behind the Wheel for good photos of the Mother Road. Chuck Berry, the Rolling Stones, Dr. Feelgood,  and others such as Asleep at the Wheel have covered the tune.

Jack's Favorite Song

Ellis Amburn, Subterranean Kerouac (St. Martin's 1998), p. 324:

One night he [Kerouac, during a 1962 visit to Lowell, Mass.] left a bar called Chuck's with Huck Finneral, a reedy, behatted eccentric who carried a business card that read: "Professional killer . . . virgins fixed . . . orgies organized, dinosaurs neutered, contracts & leases broken." Huck's philosophy of life was: "Better a wise madness than a foolish sanity." They drove to a friend's house in Merrimack, New Hampshire, and on the way, Jack sang "Moon River," calling it his favorite song. Composed by Henry Mancini and Johnny Mercer, "Moon River" was the theme song of the popular Audrey Hepburn movie Breakfast at Tiffany's. Sobbed by a harmonic, later swelling with strings and chorus, the plaintive tune's gentle but epic-like lyrics describe a dreamer and roamer not unlike Kerouac.

Indeed they do. A restless dreamer, a lonesome traveler, a dharma seeker, a desolation angel passing through this vale of tears and mist, a pilgrim on the via dolorosa of this dolorous life, a drifter on the river of samsara hoping one day to cross to the Far Shore. 

Another 'river' song in the same plaintive vein is Chase Webster's Moody River from 1961. It has been covered by such artists as Pat Boone, John Fogerty, and Doc Watson.

Saturday Night at the Oldies: Weather Conditions

Earl Scruggs and Friends, Foggy Mountain Breakdown

Ella Fitzgerald, Misty. Beats the Johnny Mathis version. A standard from the Great American Songbook.

Jimi Hendrix, Purple Haze. Not from the Great American Songbook. And presumably not about weather conditions.  'Scuse me while I kiss the sky? Or: 'Scuse me while I kiss this guy?

Cream, Sunshine of Your Love

Tom Waits, Emotional Weather Report

Art Garfunkel and James Taylor, Crying in the Rain. Written by Carole King and popularized by the Everly Bros.

Ramblin' Jack Elliot, Blue Eyes Crying in the Rain. Written by Fred Rose and performed by Roy Acuff in the '40s.

Now my hair is turned to silver
All my life I've loved in vain
I can see her star in heaven
Blue eyes cryin' in the rain.

Someday when we meet up yonder
We'll stroll hand in hand again
In a land that knows no parting
Blue eyes crying in the rain.

Allman Bros., Blue Sky

Kansas, Dust in the Wind

Eric Clapton, Let It Rain

Dave van Ronk and the Hudson Dusters, Clouds ("Both Sides Now").  This beautiful version by "The Mayor of MacDougal Street" goes out to Oregon  luthier Dave Bagwill who I know will appreciate it. Judy Collins made a hit of it. And you still doubt that the '60s was the greatest decade for American popular music?  Speaking of the greatest decade, it was when the greatest writer of American popular songs, bar none, Bob Dylan, made his mark. Some generational chauvinism is justified! 

Joan Baez, A Hard Rain's A Gonna Fall Could Johnny Mercer write a song like this?

Eva Cassidy, Over the Rainbow. Another old standard from the Great American Songbook.

Tom Waits, On a Foggy Night

Rolling Stones, She's a Rainbow

Dan Fogelberg, Rhythm of the Rain

Cascades, Rhythm of the Rain. The original.

Dee Clark, Raindrops. Manny Mora:

"Raindrops" is a 1961 song by the American R&B singer Dee Clark. Released in April of that same year, this ballad peaked at position 2 on the Hot 100 and at position 3 on the R&B chart.  [. . .]

Clark's biggest hit was also his last. [. . .]

Clark had a brief revival in 1975 when his song "Ride a Wild Horse" became a surprise Top 30 hit in the UK Singles Chart, becoming his first chart hit in the UK since "Just Keep It Up." Afterwards, Clark performed mostly on the oldies circuit. By the late 1980s, he was in dire straits financially, living in a welfare hotel in Toccoa, Georgia. Despite suffering a stroke in 1987 that left him partially paralyzed and with a mild speech impediment, he continued to perform until his death on December 7th 1990, in Smyrna, Georgia, from a heart attack at the age of 52. His last concert was with the Jimmy Gilstrap Band at the Portman Lounge in Anderson, South Carolina.

Dave Bagwill sends us to a clip in which Dave van Ronk talks a bit about the days of the "Great American Folk Scare" and then sings his signature number, "Green, Green, Rocky Road."

Saturday Night at the Oldies: Songs with 'When" in the Title

B. B. King, Nobody Knows You when You're Down and Out

John Fogerty, When Will I Be Loved?  This cover of the old Everly Bros. tune is now my favorite.

Beach Boys, When I Grow Up (to be a Man)

Bob Dylan, When the Ship Comes In

Clancy Bros., When the Ship Comes In

Laura Nyro, And When I Die

Percy Sledge, When a Man Loves a Woman

Bob Dylan, When I Paint My Masterpiece

The Band, When I Paint My Masterpiece

Bob Dylan, When the Deal Goes Down

Colander Girl

With apologies to Neil Sedaka, Calendar Girl. 

A 'pastafarian' idiot was allowed to wear a colander in an official DMV photo in the Commonwealth of Massachusetts.  Bring on the hoodies, the sombreros, the ski masks . . . .  Story here.

Does this have anything to do with the decline of the West?  Something.  It is just another little indication of the abdication of those in positions of authority.  A driver's license is an important document.  The authorities should not allow its being mocked by a dumbass with a piece of kitchenware on her head.  But Massachusetts is lousy with liberals, so what do you expect?  A liberal will tolerate anything except common sense and good judgment.

A penne for her thoughts as she strains to find something to believe in.  If only she would use her noodle.

Saturday Night at the Oldies: 'In' Songs

Are you 'in' with the 'in crowd'?

Ramsey Lewis Trio, The 'In' Crowd

Dobie Gray, The 'In' Crowd

Glenn Miller, In the Mood

Beach Boys, In My Room

Beatles, In My Life

Suzi Quatro, Stumblin' In 

Bob Dylan, Blowin' in the Wind 

Kansas, Dust in the Wind

Bob Dylan, Stuck Inside of Mobile with the Memphis Blues Again

Bob Dylan, In My Time of Dyin'

Bob Dylan, Tangled Up in Blue

Five Satins, In the Still of the Night

Mungo Jerry, In the Summertime. That fabulous and far-off summer of 1970. I was unloading mail trucks at Terminal Annex, Los Angeles. 

Van Morrison, Into the Mystic

Saturday Night at the Oldies: More Messages, Letters, etc.

Marvelettes, Please Mr. Postman. 

Elvis Presley, Return to Sender

Joan Baez, Rock Salt and Nails. "The letters you wrote me were written in shame/And I know that your conscience still echoes my name."

Son House, Death Letter Blues

Elvis Presley, The U. S. Male

Larry Finnegan, Dear One. If you remember this one, I'll buy you a beer.

Hank Williams, Dear John. "That's all she wrote. I sent your saddle home."

Ricky Nelson, That's All She Wrote

Joe Cocker, The Letter

 

Saturday Night at the Oldies: Messages, Letters, Epistles, Novels and such

Bob Dylan,  Take a Message to Mary. I prefer it to the Everly Bros. effort. 

Boxtops, The Letter

R. B. Greaves, Take a Letter, Maria

Beatles, Paperback Writer

Dinah Washington, I Could Write a Book

Donovan, Epistle to Dippy

10,000 Maniacs, Hey Jack Kerouac

Simon and Garfunkel, I am a Rock. "I have my books and my poetry to protect me." 1960's teenage alienation at its finest.

Ketty Lester, Love Letters

Paul McCartney, I'm Gonna Sit Right Down and Write Myself a Letter. Original by Fats Waller.

How could I fail to include . . .

Monotones, The Book of Love.  I never did find out who wrote it.

Saturday Night at the Oldies: Varia

A mixed bag for your enjoyment, but mainly mine.  I post what I like and I like what I post. And I post what I've posted before. Links go bad, and even when they don't I never get tired of the old tunes I like. It's Saturday night, friends, pour yourself a stiff one and relax a little the bonds that tether us to the straight and narrow.  I am drinking the fermented juice of the agave cactus mixed with a little orange juice and ginger ale. What's your libation? Forget for a time the swine who have taken over our great country, and enjoy the moment.

Thelonious Monk, I'm Getting Sentimental Over You

Wes Montgomery, 'Round Midnight

Cannonball Adderley, 74 Miles Away. In 7/4 time.

Ry Cooder, I Think It's Going to to Work Out Fine

Jeff Beck, Sleepwalk. The old Santo and Johnny instrumental from 1959.

Danny Gatton, master of the Telecaster. Phenomenally good, practically unknown.

Bob Dylan, Cold Irons Bound. When your name is 'Bob Dylan' you have your pick of sidemen. A great band. "The walls of pride, they're high and they're wide. You can't see over, to the other side."

Joe Brown, Sea of  Heartbreak.  Nothing touches Don Gibson's original effort, but Brown's is a very satisfying version.

Elvis Presley, Little Sister 

Carole King, You've Got a Friend

Buddy Guy, et al., Sweet Home Chicago. Looks like everyone is playing a Strat except for Johnny Winter.

Ry Cooder, He'll Have to Go.  A fine, if quirky, cover of the old George Reeves hit from 1959.

Marty Robbins, El Paso. Great guitar work.

Saturday Night at the Oldies: September Songs

September already.  A transitional month leading from hot August to glorious October, Kerouac month in the MavPhil 'secular liturgy.'

Dinah Washington, September in the Rain

Rod Stewart, Maggie May. "Wake up Maggie, I think I got something to say to you/It's late September and I really should be back at school."

Carole King, It Might as Well Rain Until September

The 'sixties forever! We were young, raw, open, impressionable, experience-hungry; we lived intensely and sometimes foolishly.  We felt deeply, and suffered deeply. Youth has its truth. And our popular music put to shame the crap that came before and after. Or so we thought. Would I want to live though the 'sixties again? Hell no, I am having too good a time enjoying it memorially at a safe distance.  Youth has its truth, but if you can make it into old age with health and intellect intact, and a modicum of the lean green, you are winning the game. 

Django Reinhardt, September Song

George Shearing, September in the Rain

Walter Huston, September Song 

Van Morrison, September Night

Brothers Four, Try to Remember. I do remember when I was "a tender and callow fellow." 

Addendum

This from a London reader:

Thanks for linking to the George Shearing ‘September’. I had forgotten he grew up in London (in Battersea, just down the road from me). I love the Bird-like flights on the piano. Indeed I think he wrote ‘Lullaby of Birdland’. Another Londoner is Helen Shapiro who does a great version of ‘It might as well rain until September.’  Great alto voice, never made it in the US as far as I know. There is an  account of her conversion to Christianity here.

I was first hipped to Shearing by Kerouac who referred to him in On the Road.  I too love the 'Bird'-like flights on the piano. The allusion is to Charley 'Bird' Parker, also beloved of Kerouac.  Helen Shapiro is new to me, thanks. She does a great job with the Carole King composition.  Believe it or not, King's version is a demo. That's one hell of a demo. A YouTuber points out that Shapiro was not part of the 1964 'British Invasion.'  I wonder why.

Saturday Night at the Oldies: An Alternative Dylan Top Ten

As promised last week. 

Baby Let Me Follow You Down, 1962. From Bob's first album. Lord almighty it is good to hear this again. Dylan played better guitar and harmonic in the early days.  The surging, full-throated harp beats the sometimes-annoying tweets and toots of his later harmonic playing.  Dylan opens by telling us that he learned this song from Rick [Eric] von Schmidt when he met him one day in "the green pastures of Harvard University." Was he thinking of Woody Guthrie's Pastures of Plenty, 1944? Dylan's effort  apparently derives from von Schmidt's Baby Let Me Lay it on You. 

Here is a real gem of a find: Bob Dylan Jamming with Eric von Schmidt, May, 1964.  Eric von Schmidt, Envy the Thief. Back to the Dylan top ten.

Blowin' in the Wind. From the Freewheelin' album, Bob's second. His best civil rights anthem. Topical but allusive.

A Hard Rain's A-Gonna Fall. Also from The Freewheelin' Bob Dylan.  Said to have been written during the Cuban Missile Crisis, October 1962. I remember it like it was yesterday.  Joan Baez's transcendently beautiful cover. Forgive me if I gush a bit. I'm enjoying a Saturday night cocktail: Tequila + Aperol. Straight up.

Positively Fourth Street. The ultimate put-down song.

With God on Our Side. From the third album.

Spanish Harlem Incident. Fourth album, We'll make do with the Byrds' cover. Not that it isn't good.

Its All Over Now, Baby Blue. Fifth album, probably my favorite.  This one goes out to Charaine H., and our bittersweet relationship.

Leave your stepping stones behind, something calls for you
Forget the dead you've left, they will not follow you
The vagabond who's rapping at your door
Is standing in the clothes that you once wore
Strike another match, go start anew
And it's all over now, baby blue.

It's Alright Ma, I'm Only Bleeding. Going to a Dylan concert in those days was like going to church. Absolute silence except for the man on stage standing alone singing his own songs and accompanying himself on guitar and harp. We hung on every word.

It Take a Lot to Laugh, It Takes a Train to Cry. From Dylan's 6th album, Highway 61 Revisited.

I Want You. Blonde on Blonde, Dylan's 7th.

All Along the Watchtower, John Wesley Harding.

Saturday Night at the Oldies: My Bob Dylan Top Ten

Hector C. asked me to name my top ten favorite Dylan songs. With pleasure.

Don't Think Twice.  I first heard this in the Peter, Paul, and Mary version circa 1962 or '63. Deeply moved by it, I bought the 45 rpm single and noted that the song was written by one B. Dylan. I pronounced the name to myself as 'Dial in' and had a sense that this songwriter was about to speak to me and my life.  And here he is still speaking to my 'lived experience' 60 years later.

She Belongs to Me

Chimes of Freedom.  With Joan Osborne, NOT Joan Baez!  Byrds' version.  No Dylan, no folk rock.

My Back Pages

It's All Over Now, Baby Blue

Farewell Angelina. Joanie's version. No Baez, no Dylan. She took the scruffy kid under her wing and introduced him to her well-established audience.  

Visions of Johanna

Just Like a Woman.  Better than the Blonde on Blonde version.  

Tambourine Man

Few songs capture the 'magic' of the '60s like this one. But you had to have been there, of a certain impressionable age, with the right disposition, with an open mind, and an open heart, idealistic, a seeker, and at least a little alienated from the larger society and the quiet desperation and dead usages of parents and relatives . . . .

YouTuber comment:  "This Bob Dylan song brings me to tears and I don't know why. I'm 76 years old and remember when it was new. It still is." Comment on the comment:  "This is a nostalgic feeling for the passing of the time. A saudade of a time whose dreams seem  real. I know about it. I'm 71."

Not Dark Yet. YouTuber comment: "All my life, Dylan has been able to touch my soul. This is undoubtedly one of his best."

An alternative Dylan top ten next week.

Saturday Night at the Oldies: More Musical Duos and Some Duets

Richard and Mimi Farina, Pack Up Your Sorrows

Mimi and Richard Farina, Reno, Nevada

Ian and Sylvia, Early Morning Rain

Ian and Sylvia, You Were on My Mind

Joan Baez and Mimi Farina, Catch the Wind

Joan Baez and Bob Dylan, Blowin' in the Wind

Dick and Dee Dee, The Mountain High, 1961

Dick and Dee Dee, Tell Me, 1962. Where were you in '62?

Santo and Johnny, Sleep Walk. Every garage band from here to Cucamonga did a version of this tune.

Joe and Eddie, There's a Meeting Here Tonight. I'll bet you don't remember this one, Dave Bagwill.

Les Paul and Mary Ford, Vaya con Dios, 1953

Saturday Night at the Oldies: Musical Duos

Saturday night, time to punch the clock and pour yourself a stiff one. Me, I'm drinking a  Jack and Coke. How about you?

Mickey and Sylvia, Love is Strange, 1956

Nino Tempo and April, Deep Purple, 1963. The lyrics are pure sweet kitsch. But what's wrong with a little kitsch and sentimentality? Up yours, Theodor Adorno.

Everly Brothers, When Will I be Loved?

Righteous Brothers, Little Latin Lupe Lu

Simon and Garfunkel, I am a Rock.  I have my books and my poetry to protect me!

Ike and Tina Turner, It's Gonna Work Out Fine, 1961. I went to see the preacher man.

Sonny and Cher, I Got You, Babe, 1965.  Don't let them say you hair's too long!

Jan and Dean, Dead Man's Curve, 1963. Walk not back from Dead Man's Curve.

Lester Flatt and Earl Scruggs, Foggy Mountain Breakdown, 1949. This one goes out to Hillary Clinton.

Peter and Gordon, I Go to Pieces

Peter and Gordon, Summer Song

Chad and Jeremy, Yesterday's Gone

Doc Holliday and Johnny Ringo, Last Tango

Saturday Night at the Oldies: Some California Tunes from a Happier Time

Sir Douglas Quartet, Mendocino, 1969. This one goes out to Mendocino Joe.

Eric Burdon and the Animals, Monterey. This one goes out to Monterey Tom. 

Eagles, Hotel California.  Some of finest guitar-slinging of the '70s.

Creedence Clearwater Revival, Lodi

GG Kettel, San Francisco Bay Blues. Ferrara, Italy, 2007

Scott Mackenzie, San Francisco

Johnny Bond, Hot Rod Lincoln. San Pedro, Grapevine Hill. 

Doors, L. A. Woman

Beach Boys, California Girls

Mamas and Papas, California Dreamin'

Dave Bagwill comments (4 July):

Bill, listening to that Beach Boys tune tonight brought back a vivid memory.

 

Back when I lived in the Bay Area, and the Oakland A's were winning lots of ball games - Catfish Hunter, Sal Bando, Reggie Jackson (who made a throw from deep right field, at the fence, on a line to third base -on the base, in fact - catching a runner who had tagged at second base), Rick Monday et. al. - I attended a Saturday afternoon double-header with a friend from the bank.

 

It was a perfect day for baseball, and the stands were sold out; it felt great, until the first music pumped out of that stupendous sound system - and then it felt even better. 'California Girls' started playing, and just the first two or three beats was enough to electrify the crowd into a spontaneous rising and a thunderous roar of happiness.

 

It was just great to be an American, and that song was a huge part of the 'gestalt' = weather, a ball game, hot dogs, friendship, the flag, a sense of security and fellowship. And Sal Bando hit two home runs in the first game.

Bob Dylan at 80: A Sober Assessment

Graham Cunningham:

It pains me a little to say it, given my own past devotion, but some cold perspective is needed here. Bob Dylan was—from 1962 to the early 1980s—an extraordinary singer-songwriter and, in terms of quantity of great material, simply without equal. For the last 40 years, though, he has mostly been trading on the reputation he built in those years. There are exceptions to this judgment, yes, but not many: the 1983 Infidels album, a few tracks on the 1997 Time Out of Mind, and “Things Have Changed” from the soundtrack of the 2000 film Wonder Boys, for example.

Did Dylan deserve the Nobel Prize for Literature that he won in 2016? I’m not sure; he’s probably not sure, either. He was consistently good for about 20 years, an amazingly long time for a rock star. And he can take credit for spawning a whole musical genre. Many other songwriters in the same musical territory, such as Paul Simon or Bruce Springsteen, have, at their best, been as good or almost as good—but not nearly so often, or for so long.

The truth is, Bob Dylan, now 80, will never get “back on form.” Aging rock stars don’t do that; no one does. One of the most quoted lyrics of “Murder Most Foul” informs us that “It’s 36 hours past Judgment Day.” Dylan has been unquestionably the most influential songwriter of his era; no one can take that away from him. But as a long-time fan, I can’t help but wish that he had hung up his songwriting boots decades ago. His musical stature could then have remained closer to that of artists who die young, unsullied by the inevitable failures that must come to all careers—even one as extraordinary as his.

Holy Saturday Night at the Oldies

Herewith, six definite decouplings of rock and roll from sex and drugs.

Norman Greenbaum, Spirit in the Sky

Johnny Cash, Personal Jesus. This is one powerful song.

Clapton and Winwood, Presence of the Lord. Why is Clapton such a great guitarist? Not because of his technical virtuosity, his 'chops,' but because he uses them to say something.

George Harrison, My Sweet Lord

George Harrison, Hear Me Lord

George Harrison, All Things Must Pass.  Harrison was the Beatle with depth. Lennon the radical, McCartney the romantic, Starr the regular guy.

Saturday Night at the Oldies: Torch Songs

"A torch song is a sentimental love song, typically one in which the singer laments an unrequited or lost love, where one party is either oblivious to the existence of the other, or where one party has moved on." (Wikipedia)

Sarah Vaughn, Broken Hearted Melody.   YouTuber comment: "Late 1959. I was in 4th grade, listening to KFWB Los Angeles."  Same here. Same year, same grade, same station, KFWB, Channel 98! Color Radio! My favorite deejay was B. Mitchel Reed.  I learned 'semolian' and 'mishigas' from him. His real surname is 'Goldberg,' which means mountain of gold. I will say no more lest I provoke my alt-Right correspondents.  

Timi Yuro, Hurt. When I first heard this I was sure she was black. I was wrong. She's Italian, and her real name is Rosemarie Timotea Auro. What pipes!

Billie Holliday, The Very Thought of You

Roy Orbison, In Dreams

Peggy Lee, Oh You Crazy Moon 

Ketty Lester, Love Letters 

Etta James, At Last  

Lenny Welch, Since I Fell for You

Sentimental you say? What would life be without sentiment? You say it's overdone? You suffer from an excess of cool. It's Saturday night, punch the clock, pour yourself a stiff one, and feel. Tonight we feel, tomorrow we think.  About sentimentality and everything else under the sun.

Saturday Night at the Oldies: A Little Harmless Escapism from the Horrors of the Present

Freddy Fender, Cielito Lindo.  Tex-Mex version of a very old song.

Arizona's own Marty Robbins, La Paloma.  Another old song dating back to 1861. 

Barbara Lewis, Hello Stranger, 1963. 1963 was arguably the best of the '60s years for pop compositions. 

Emmylou Harris, Hello Stranger. Same title, different song.  This one goes out to Mary Kay F-D. Remember the Fall of 1980, Mary Kay? 

Get up, rounder/Let a working girl lie down/ You are rounder/And you are all out and down.

Carter Family version from 1939.

Joan Baez, Daddy, You've Been on My Mind. The voice of an angel, the words of a poet, and Bruce  Langhorne's guitar.

Joan Baez, It's All Over Now, Baby Blue. The voice of an angel, the words of a poet, and Langhorne's guitar.

Joan Baez, A Hard Rain's A Gonna Fall. The voice of an angel, the words of a poet, and Langhorne's guitar. The incredible mood of this version, especially the intro, is made by Langhorne and the bass of Russ Savakus, another well-known session player from those days. I've been listening to this song since '65 and it gives me chills every time. 

Carolyn Hester, I'll Fly Away.  Dylan on harp, a little rough and ragged. Langhorne on guitar? Not sure.

Joan Baez and her sister, Mimi Farina, Catch the Wind. Fabulous.

Joan Baez, Boots of Spanish Leather.  Nanci Griffith also does a good job with this Dylan classic. 

Betty Everett, You're No Good, 1963.  More soulful than the 1975 Linda Ronstadt version.

The Ikettes, I'm Blue, 1962. 

Lee Dorsey, Ya Ya, 1961.  Simplicity itself. Three chords. I-IV-V progression. No bridge.

New Year's Eve at the Oldies: 'Last' Songs for the Last Night of the Year

Happy New Year, everybody.  

Last Night, 1961, The Mar-Keys.

Last Date, 1960, Floyd Cramer. It was bliss while it lasted. You were so in love with her you couldn't see straight. But she didn't feel the same. You shuffle home, enter your lonely apartment, pour yourself a stiff one, and put Floyd Cramer on the box.

Save the Last Dance for Me, 1960, The Drifters.

At Last, Etta James.

Last Thing on My Mind, Doc Watson sings the Tom Paxton tune. A very fine version.

Last Night I Had the Strangest Dream, Simon and Garfunkel. 

Last Call, Dave van Ronk.  "If I'd been drunk when I was born, I'd be ignorant of sorrow."

(Last night I had) A Wonderful Dream, The Majors. The trick is to find in the flesh one of those dream girls. Some of us got lucky.

This night in 1985 was Rick Nelson's last: the Travelin' Man died in a plane crash.  Wikipedia:

Nelson dreaded flying but refused to travel by bus. In May 1985, he decided he needed a private plane and leased a luxurious, fourteen-seat, 1944 Douglas DC-3 that had once belonged to the DuPont family and later to Jerry Lee Lewis. The plane had been plagued by a history of mechanical problems.^[104] In one incident, the band was forced to push the plane off the runway after an engine blew, and in another incident, a malfunctioning magneto prevented Nelson from participating in the first Farm Aid concert in Champaign, Illinois.

On December 26, 1985, Nelson and the band left for a three-stop tour of the Southern United States. Following shows in Orlando, Florida, and Guntersville, Alabama, Nelson and band members took off from Guntersville for a New Year's Eve extravaganza in Dallas, Texas.^[105] The plane crash-landed northeast of Dallas in De Kalb, Texas, less than two miles from a landing strip, at approximately 5:14 p.m. CST on December 31, 1985, hitting trees as it came to earth. Seven of the nine occupants were killed: Nelson and his companion, Helen Blair; bass guitarist Patrick Woodward, drummer Rick Intveld, keyboardist Andy Chapin, guitarist Bobby Neal, and road manager/soundman Donald Clark Russell. Pilots Ken Ferguson and Brad Rank escaped via cockpit windows, though Ferguson was severely burned.

It's Up to You.

Bonus: Last Chance Harvey.

Last but not least: Auld Lang Syne.

Happy New Year, everybody.  

Last Night, 1961, The Mar-Keys.

Last Date, 1960, Floyd Cramer. It was bliss while it lasted. You were so in love with her you couldn't see straight. But she didn't feel the same. You shuffle home, enter your lonely apartment, pour yourself a stiff one, and put Floyd Cramer on the box.

Save the Last Dance for Me, 1960, The Drifters.

At Last, Etta James.

Last Thing on My Mind, Doc Watson sings the Tom Paxton tune. A very fine version.

Last Night I Had the Strangest Dream, Simon and Garfunkel. 

Last Call, Dave van Ronk.  "If I'd been drunk when I was born, I'd be ignorant of sorrow."

(Last night I had) A Wonderful Dream, The Majors. The trick is to find in the flesh one of those dream girls. Some of us got lucky.

This night in 1985 was Rick Nelson's last: the Travelin' Man died in a plane crash.  Wikipedia:

Nelson dreaded flying but refused to travel by bus. In May 1985, he decided he needed a private plane and leased a luxurious, fourteen-seat, 1944 Douglas DC-3 that had once belonged to the DuPont family and later to Jerry Lee Lewis. The plane had been plagued by a history of mechanical problems.^[104] In one incident, the band was forced to push the plane off the runway after an engine blew, and in another incident, a malfunctioning magneto prevented Nelson from participating in the first Farm Aid concert in Champaign, Illinois.

On December 26, 1985, Nelson and the band left for a three-stop tour of the Southern United States. Following shows in Orlando, Florida, and Guntersville, Alabama, Nelson and band members took off from Guntersville for a New Year's Eve extravaganza in Dallas, Texas.^[105] The plane crash-landed northeast of Dallas in De Kalb, Texas, less than two miles from a landing strip, at approximately 5:14 p.m. CST on December 31, 1985, hitting trees as it came to earth. Seven of the nine occupants were killed: Nelson and his companion, Helen Blair; bass guitarist Patrick Woodward, drummer Rick Intveld, keyboardist Andy Chapin, guitarist Bobby Neal, and road manager/soundman Donald Clark Russell. Pilots Ken Ferguson and Brad Rank escaped via cockpit windows, though Ferguson was severely burned.

It's Up to You.

Bonus: Last Chance Harvey.

Last but not least: Auld Lang Syne.

Saturday Night at the Oldies: Varia

Marlene Dietrich, Die Fesche Lola. 'Fesche' means something like smart, snazzy.

Ich bin die fesche Lola, der Liebling der Saison!
Ich hab' ein Pianola zu Haus' in mein' Salon
Ich bin die fesche Lola, mich liebt ein jeder Mann
doch an mein Pianola, da laß ich keinen ran!

Kinks, Lola. From the days when 'tranny' meant transmission.  

Marlene Dietrich, Muss I Denn

Elvis Presley, Wooden Heart 

Lotte Lenya, Moon of Alabama

Doors, Roadhouse Blues

Tom Petty, Lost Highway. The old Hank Williams tune. "And now I am lost, too late to pray. Lord, I've paid the cost on the lost highway."  This goes out to all you 'deplorables' out there.

Bette Midler, Mambo Italiano.  Video of Sophia Loren.

Marlene Dietrich, Die Fesche Lola. 'Fesche' means something like smart, snazzy.

Ich bin die fesche Lola, der Liebling der Saison!
Ich hab' ein Pianola zu Haus' in mein' Salon
Ich bin die fesche Lola, mich liebt ein jeder Mann
doch an mein Pianola, da laß ich keinen ran!

Kinks, Lola. From the days when 'tranny' meant transmission.  

Marlene Dietrich, Muss I Denn

Elvis Presley, Wooden Heart 

Lotte Lenya, Moon of Alabama

Doors, Roadhouse Blues

Tom Petty, Lost Highway. The old Hank Williams tune. "And now I am lost, too late to pray. Lord, I've paid the cost on the lost highway."  This goes out to all you 'deplorables' out there.

Bette Midler, Mambo Italiano.  Video of Sophia Loren.

Saturday NIght at the Oldies: The Forgotten and the Underplayed

Betty Everett, You're No Good, 1963.  More soulful than the 1975 Linda Ronstadt version.

The Ikettes, I'm Blue, 1962. 

Lee Dorsey, Ya Ya, 1961.  Simplicity itself. Three chords. I-IV-V progression. No bridge.

Paul Anka, A Steel Guitar and a Glass of Wine, 1962.

Carole King, Crying in the Rain, 1963.  The earnest girl-feeling of young Carole makes it better than the Everly Bros.' more polished and better executed version.  

Don Gibson, Sea of a Heartbreak.  A crossover hit from 1961.  It's a crime for the oldies stations to ignore this great song. Joe Brown's cover is also good.

Ketty Lester, Love Letters, 1961.  Gets some play, but not enough.

Eric Clapton, Good Night Irene. This one goes out to Ed Buckner.

Betty Everett, You're No Good, 1963.  More soulful than the 1975 Linda Ronstadt version.

The Ikettes, I'm Blue, 1962. 

Lee Dorsey, Ya Ya, 1961.  Simplicity itself. Three chords. I-IV-V progression. No bridge.

Paul Anka, A Steel Guitar and a Glass of Wine, 1962.

Carole King, Crying in the Rain, 1963.  The earnest girl-feeling of young Carole makes it better than the Everly Bros.' more polished and better executed version.  

Don Gibson, Sea of a Heartbreak.  A crossover hit from 1961.  It's a crime for the oldies stations to ignore this great song. Joe Brown's cover is also good.

Ketty Lester, Love Letters, 1961.  Gets some play, but not enough.

Eric Clapton, Good Night Irene. This one goes out to Ed Buckner.

Saturday Night at the Oldies: The Wall of Sound

Here are some of my favorite Phil Spector productions.  It wouldn't have been the 'sixties without him. I avert my eyes from his later misadventures and remember him for his contributions to the Boomer soundtrack.

Crystals, Uptown, 1962.

Crystals, He's a Rebel

Ronettes, Be My Baby

Crystals, Da Doo Ron Ron

Curtis Lee, Pretty Little Angel Eyes.

Great dance video. Curtis Edwin Lee, one-hit wonder, hailed from Yuma, Arizona.  He died at 75 years of age on 8 January 2015.  Obituary here. His signature number became a hit in 1961, reaching the #7 slot on the Billboard Hot 100. When I discovered that the record was produced by the legendary Phil Spector, I understood why it is so good.  After the limelight, Lee returned to Yuma for a normal life. This tune goes out to wifey, with love.  When I first espied those angel eyes back in '82, I had the thought, "Here she is, man, the one for you. Go for it!" And I did, and its been very good indeed.

Ben E. King, Spanish Harlem, 1960.

Crystals, Then He Kissed Me

Beach Boys, Then I Kissed Her. With a tribute to Marilyn M.

Paris Sisters, I Love How You Love Me, 1961.

Ronettes, Walkin' in the Rain

Saturday Night at the Oldies: Sibelius, Symphony No. 1 in E Minor, Opus 39

Leonard Bernstein conducts.

20th century classical music with human meaning.  My favorite part is the Andante movement, starting around 13:00.

Commentary by Robert Reilly: Jean Sibelius' Music of the Logos.

Sibelius said, “There is music in the whole universe.” He believed in the “Music of the Spheres,” the classical Greek view that held that the mathematical relationships among the heavenly bodies are the same as those of music. The heavens are literally harmonious. He said, “I believe that there are musical notes and harmonies on all planets.” This included planet earth. Sibelius’s experience of the world was essentially musical.

[. . .]

Though Sibelius was not religious in a conventional sense, he was a deep believer. “The essence of man’s being,” he said, “is his striving after God.” He saw art as hieratic and composition as a vocation. In words that could hardly go more directly to the heart of the matter, he said, “It [composition] is brought to life by means of the Logos, the divine in art. That is the only thing that really has significance.”

Saturday Night at the Oldies: September Songs

September already.  A transitional month leading from hot August to glorious October, Kerouac month in the MavPhil 'secular liturgy.'

Dinah Washington, September in the Rain

Rod Stewart, Maggie May. "Wake up Maggie, I think I got something to say to you/It's late September and I really should be back at school."

Carole King, It Might as Well Rain Until September

Django Reinhardt, September Song

George Shearing, September in the Rain

Walter Huston, September Song 

Addendum

This from a London reader:

Thanks for linking to the George Shearing ‘September’. I had forgotten he grew up in London (in Battersea, just down the road from me). I love the Bird-like flights on the piano. Indeed I think he wrote ‘Lullaby of Birdland’. Another Londoner is Helen Shapiro who does a great version of ‘It might as well rain until September’ https://www.youtube.com/watch?v=De0_zZ7qQDA. Great alto voice, never made it in the US as far as I know. There is an  account of her conversion to Christianity here.

I was first hipped to Shearing by Kerouac who referred to him in On the Road.  I too love the 'Bird'-like flights on the piano. The allusion is to Charley 'Bird' Parker, also beloved of Kerouac.  Helen Shapiro is new to me, thanks. She does a great job with the Carole King composition.  Believe it or not, King's version is a demo. That's one hell of a demo. A YouTuber points out that Shapiro was not part of the 1964 'British Invasion.'  I wonder why.

Saturday Nght at the Oldies: The Ten Most Violent Democrat-Run Cities

New York, New York. "Start spreading the news . . ."

L. A. Woman

Born in Chicago

Houston

Streets of Philadelphia

Stuck Inside of Mobile with the Memphis Blues Again. "The post office has been stolen and the mail box is locked." Prescient!

Detroit City

Dallas Alice

By the Time I Get to Phoenix

Lady Came from Baltimore

Like crime? Vote Democratic!

Saturday Night at the Oldies: Varia

I have only recently come to appreciate what a great song this Jackson Browne number from 1976 is. After the 'sixties faded, I gave myself an education in classical and jazz and lost touch with the rock scene. The video presents the thoughtful lyrics.   The Gary U. S. Bonds cover from 1981 is also unbelievably good.

The Weight. Robertson sat down one day to write a song and peering into his Martin guitar read, "Martin Guitars, Nazareth, Pennslylvania." This inspired the line, "I pulled into Nazareth, feelin' about half-past dead."

The Night They Drove Old Dixie Down. Nothing hippy-trippy or psychedelic about these '60s musicians. Pure Americana. Rooted, autochthonic.

I Shall Be Released. The synergy benefited both the Bard and the Band. They helped him move farther from the mind and closer to the earth.

I post what I like, and I like what I post. It's a nostalgia trip, and a generational thing. There's no point in disputing taste or sensibility, or much of anything else. It's Saturday night, punch the clock, pour yourself a stiff one, stop thinking, and FEEL!

Traveling Wilburys, End of Line, Extended Version

Who, Won't Get Fooled Again. Lyrics! 

Gary U. S. Bonds, From a Buick Six. Sorry, Bob, but not even you can touch this version.

Bob Dylan, It Takes a Lot to Laugh, It Takes  a Train to Cry.  Cutting Edge Bootleg version.

Bob Dylan, Just Like a Woman.  This Cutting Edge take may be the best version, even with the mistakes. I'll say no more, lest I gush.

Bob Dylan, Cold Irons Bound. The Bard never loses his touch. May he die with his boots on.

Bob Dylan, Corrina, Corrina. And you say he can't sing in a conventional way?

Bob Seger, Old-Time Rock and Roll

But does it really "soothe the soul"? Is it supposed to?  For soul-soothing, I recommend the Adagio movement of Beethoven's Ninth Symphony. Adagio molto e cantabile.

The Flying Burrito Brothers, To Ramona.  A beautiful cover of a song from Dylan's fourth album, Another Side of Bob Dylan.  

YouTuber comment: "I'd hate to think where we would be without Mr. Zimmerman's songwriting. So many covers done by so many great artists." And I say that if it weren't for Zimmi the Great American Boomer Soundtrack would have a huge, gaping hole in it.

John Fogerty and the Blue Ridge Rangers, You're the Reason

The Springfields, Silver Threads and Golden Needles

Dusty Springfield before she was Dusty Springfield.

Ramblin' Jack Elliot, Roving Gambler.  'Ramblin' Charles Adnopoz' lacking the requisite resonance for a follower of Woody Guthrie, this Jewish son of a New York M.D. wisely changed his name. 

Joan Baez, Rock Salt and Nails

Patsy Cline, She's Got You

Marianne Faithfull,  Ruby Tuesday.  Moodier than the Stones' original.  She does a great version of Dylan's Visions of Johanna. But nothing touches the original. It moves me as much as it did back in '66.  YouTuber comment: "An early morning cup of coffee, smoking a fattie, listening to this insane genius . . . does it get any better? And if so, how?"

Tom Waits, The Ghosts of Saturday Night.  One of the best by this latter-day quasi-Kerouac.

Marlene Dietrich, Die Fesche Lola. 'Fesche' means something like smart, snazzy.

Ich bin die fesche Lola, der Liebling der Saison!
Ich hab' ein Pianola zu Haus' in mein' Salon
Ich bin die fesche Lola, mich liebt ein jeder Mann
doch an mein Pianola, da laß ich keinen ran!

Kinks, Lola. From the days when 'tranny' meant transmission.  

Marlene Dietrich, Muss I Denn

Elvis Presley, Wooden Heart 

Lotte Lenya, September Song

Lotte Lenya, Moon of Alabama

Doors, Roadhouse Blues

Bette Midler, Mambo Italiano.  Video of Sophia Loren.

Marlene Dietrich, Die Fesche Lola. 'Fesche' means something like smart, snazzy.

Ich bin die fesche Lola, der Liebling der Saison!
Ich hab' ein Pianola zu Haus' in mein' Salon
Ich bin die fesche Lola, mich liebt ein jeder Mann
doch an mein Pianola, da laß ich keinen ran!

Kinks, Lola. From the days when 'tranny' meant transmission.  

Marlene Dietrich, Muss I Denn

Elvis Presley, Wooden Heart 

Lotte Lenya, September Song

Lotte Lenya, Moon of Alabama

Doors, Roadhouse Blues

Bette Midler, Mambo Italiano.  Video of Sophia Loren.

Saturday Night at the Oldies: Carmelita, Juanita, and the Wicked Felina

Warren Zevon, Carmelita.  Stay clear of heroin and Pioneer chicken, both.

Flying Burrito Brothers, Juanita. Lyrics:

'No  affection' were the words that stuck on my mind
When she walked out on me for the very last time.
Oh mama sweet mama can you tell me what to say?
I don't know what I've done to be treated this way.

In a cold dirty room that's where I found myself
With a bottle of wine and some pills off the shelf.
Oh mama sweet mama can you tell me what to say?
I don't know what I've done and I'm feeling so ashamed.

Then an angel appeared she was just 17
In a dirty old gown (town?) with a conscience so clean
Oh mama sweet mama can you tell me what to say?
She's brought back the life that I once threw away.

Delightfully ambiguous:  Is Juanita the girl who walked out or the one who saved him?  Or both?

Marty Robbins, El Paso.  "Cradled by two loving arms that I'll die for/One little kiss and Felina, good-bye."

Bonus cut: Devil Woman

Albert Camus: He's a Rebel!

You'll enjoy it. If you don't,  you are not MavPhil material.

Albert Camus, The Rebel: An Essay on Man in Revolt, tr. A. Bower, Vintage 1991, p. 15, French original published by Gallimard in 1951:

Better to die on one's feet than to live on one's knees.

Good advice if one can take it without false heroism and existentialist hyperventilation.

Albert Camus, The Rebel: An Essay on Man in Revolt, tr. A. Bower, Vintage 1991, p. 15, French original published by Gallimard in 1951:

Better to die on one's feet than to live on one's knees.

Good advice if one can take it without false heroism and existentialist hyperventilation.

Saturday Night at the Oldies: Celebrating Freedom and Independence

Not to mention resistance and defiance. Hats off to President Trump for last night's magnificent speech in the shadow of Mount Rushmore. And a happy Fourth to all patriots. 

Great minds on "All men are created equal."

Johnny Cash, I Won't Back Down. Tom Petty wrote it, with Jeff Lynne.

Byrds, Chimes of Freedom.  One of Dylan's greatest anthems.

Byrds, I Wasn't Born to Follow

Good YouTuber comment: "I keep searching for that door back into the summer of '69, I lost it somewhere long ago." 

Tim Hardin, A Simple Song of Freedom

Crystals, He's a Rebel

Rascals, People Got to be Free

Bob Dylan, I Shall Be Free. This is the first time I've heard this particular delightful 1962 outtake.  A real period piece in the style of Woody Guthrie with appearances by Marilyn Monroe, Anita Ekberg, Sophia Loren, John F. Kennedy, Elizabeth Taylor, Richard Burton, Mr. Clean, Mr. Clean's great granddaughter, fallout shelters . . . .

Cream, I Feel Free  

Johnny Horton, The Battle of New Orleans

Saturday Night at the Oldies: Politically Incorrect Tunes

No day without political incorrectness! And no night either.

But I suppose I should issue a TRIGGER WARNING to the 'safe space' girly-girls and pajama boys.  

Do not click on any of these links!  I am not responsible  for your psychic meltdown.

Ray Stevens, Ahab the Arab.  Here is the original from 1962. 

In the lyrics there are references to two hits from the same era, Chubby Checker's The Twist (1960) and Lonnie Donegan's British skiffle number  Does Your Chewing Gum Lose its Flavor?  On second thought, the reference is to Checker's Let's Twist Again Like We Did Last Summer (1960).

Larry Verne, Mr. Custer (1960). "What am I doin' here?"

And now a trio of feminist anthems.

Marcie Blaine, Bobby's Girl.  "And if I was Bobby's girl, what a faithful, thankful girl I'd be." 

Carol Deene, Johnny Get Angry.   Joanie Sommers did it first.  "I want a cave man!"  Nice kazoo work.  k. d. lang's parody. 

Little Peggy March, I Will Follow Him.  "From now until forever."

Meanwhile the guys were bragging of having a girl in every port of call.  Dion, The Wanderer (1961). Ricky Nelson, Travelin' Man. (1961)

Addendum:  I forgot to link to two Ray Stevens numbers that are sure to rankle the sorry sensibilities of  our liberal pals: Come to the USA, God Save Arizona.  If you are a liberal shithead do not click on these links!  But if  if you have any sense you will enjoy them.