"The Year That Clayton Delaney Died" - Tom T. Hall (Live)

This is one off my favorite songs by one of America’s finest storytellers. That he happens to tell the stories to music is just an added plus; but the stories would stand on their own, even without the melodies. They’re simply that good.

Bob Dylan is great; abstract poetry and activism. It’s great stuff. John Prine writes about the ironies of life. And I love John Prine. But Tom T. Hall writes about the people he has met and what has happened to him in life; and guess what?  His stories reflect more accurately the everyday struggles and emotions of the average person.

Of course there are just some stories made up for plain fun. Listen to “A Week In a County Jail” sometime to hear what I mean. You can listen here;

http://www.youtube.com/watch?v=yUPqASrmeYs

Derek and the Domino's on the Johnny Cash Show (1971)

The Johnny Cash Show was just a blip on the radar screen of one of country music’s all-time greatest stars. And just like with everything else, his selection of entertainment was a fascinating variety of musical genres from which his own brand of music had emerged.

One night he had Louis Armstrong on and they recreated the original July 1925 session of what is considered to be the first country record ever made. In the video he recounts the story of that recording and then plays the song “Blue Yodel” with Johnny Cash accompanying him on guitar. It’s almost as good as the original recording. Here’s a link to that one;

http://www.youtube.com/watch?v=RsUtKgzInI4

And when it came time to recognizing the revitalization the “English Invasion” had brought to the American music scene, he was no less grand in his acknowledgment to those artists. In the video above he hosts Derek and the Domino’s for a great set.

Johnny Cash was kind of an enigma. He was anti- war during the Vietnam War at a time when “Stand By Your Man” and Okie from Moskogie” were like national anthems in that part of the country. (Yes, he was ant-war; you can read about in his autobiography, he tells it better than I do.) But at the same time he did the USO shows to entertain the troops, paying his own way on several occasions.

The next thing you knew he was doing a film about Jesus called “The Gospel Road”, and in his final years he was busy with producer Rick Rubin, re-interpreting some of the music of the younger generation such as Smashing Pumpkins and even U-2. His version of “One” is still my favorite.

If you have a favorite group, then chances are they were on the Johnny Cash Show. Just hit you tube find out.

"Tempted" - Glenn Tillbrook

I was looking at some videos when I ran across this live, impromptu version of the old Squeeze hit "Tempted". Glenn Tillbrook was backstage, getting ready to perform in New York City when he did this for an interviewer from "Culture Catch!" What an impressive vocal performance; with no special acoustics provided; simply a guitar and an incredibly clear voice. But then again, he and Jools Holland always did amaze me with their vocals; as well as their writing.

I was in the Middle East for the entire year in 1981. I only made it home for a month in April and then again in late November. I used to miss out on a lot of new music while at sea. There was no satellite radio, VCR's etc. to keep us abreast of the new music, or even the news. Actually, when I think about it, it was pretty cool to not be bothered by the daily blitz of what's going on.

But, when we did get to a port we devoured everything we could find. I found Squeeze on a bootlegged cassette tape in an Arab souk in Alexandria. The guy had a whole cart full of every type of music you can imagine. And I mean a cart; as in horse drawn.

The whole market was strung with bare white light bulbs, like a state fair. There was music coming from the numerous boom boxes; which were for sale; and the music was a cacophony of sound from everywhere imaginable. There were African drums, Muslim calls to Prayer, Pop music like Squeeze, Symphonies and even Gregorian Chants; all available on these bootlegged tapes.

Food was another commodity which all sailors were eager to sample ashore. We ate well aboard ship, but steak and eggs; lobster and all the western foods paled beside the mysteries of something new. Spices filled the air and smoke from all the cooking fires made the night a bit hazy; the bare lights notwithstanding.

To this day, whenever I hear a song by Squeeze, I am instantly transported back to the time and place where I first heard their music. The cassette tape I bought that night became one of my favorites. 

I'm not sure, but I think it has a lot to do with the fact that "Argybargy"; the album I had purchased; was largely about the Middle East and the Mediterranean coast; which is exactly where I was working at the time. The album was probably already over a year old. Sometimes being the last one to learn about something new can be very timely.

To compare the quality of Mr. Tillbrook's voice in the studio with his performance above, hit this link;

http://www.youtube.com/watch?v=hxoZB__lI8g

Paul Revere and the Raiders - (1967)

Today is the 239th anniversary of Paul Revere’s famous midnight ride. It is one of the first American history lessons I ever recall hearing. I must have been in Kindergarten at the time. Mrs. Gerber; with seamed stockings; was my teacher and she read the poem to the class. We were enthralled. And I’ve never forgotten her seamed stockings – or the poem.

Of course, that’s not Paul Revere, or even Longfellow above; that’s Mark Lindsay with Paul Revere and the Raiders doing a medley of their hits “Mr. Sun”, “Out on Road”, and “Kicks.” I have included them for the sake of diversity. 

Following is a short paragraph about Mr. Longfellow and his famous poem; followed by the poem itself. At the end I have included an eye witness account of that day at Lexington and Concord by Sylvanus Wood, who was 23 years old at the time.

In April of 1860 Henry Wadsworth Longfellow climbed the tower of the Old North Church and was inspired to write his simplified version of the nights' events. It was first published in The Atlantic Monthly in January of 1861. It has since acquired legendary stature and has served as the inspiration for millions of Americans to learn more about the events of that night. I reprint it here with great pleasure and as a tribute to those men who gathered at Lexington that morning to begin the labor pains that ultimately gave birth to our Nation.

The Midnight Ride of Paul Revere

Listen my children and you shall hear

Of the midnight ride of Paul Revere,

On the eighteenth of April, in Seventy-five;

Hardly a man is now alive

Who remembers that famous day and year.

He said to his friend, "If the British march

By land or sea from the town to-night,

Hang a lantern aloft in the belfry arch

Of the North Church tower as a signal light,

One if by land, and two if by sea;

And I on the opposite shore will be,

Ready to ride and spread the alarm

Through every Middlesex village and farm,

For the country folk to be up and to arm."

Then he said "Good-night!" and with muffled oar

Silently rowed to the Charlestown shore,

Just as the moon rose over the bay,

Where swinging wide at her moorings lay

The Somerset, British man-of-war;

A phantom ship, with each mast and spar

Across the moon like a prison bar,

And a huge black hulk, that was magnified

By its own reflection in the tide.

Meanwhile, his friend through alley and street

Wanders and watches, with eager ears,

Till in the silence around him he hears

The muster of men at the barrack door,

The sound of arms, and the tramp of feet,

And the measured tread of the grenadiers,

Marching down to their boats on the shore.

Then he climbed the tower of the Old North Church,

By the wooden stairs, with stealthy tread,

To the belfry chamber overhead,

And startled the pigeons from their perch

On the sombre rafters, that round him made

Masses and moving shapes of shade,

By the trembling ladder, steep and tall,

To the highest window in the wall,

Where he paused to listen and look down

A moment on the roofs of the town

And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead,

In their night encampment on the hill,

Wrapped in silence so deep and still

That he could hear, like a sentinel's tread,

The watchful night-wind, as it went

Creeping along from tent to tent,

And seeming to whisper, "All is well!"

A moment only he feels the spell

Of the place and the hour, and the secret dread

Of the lonely belfry and the dead;

For suddenly all his thoughts are bent

On a shadowy something far away,

Where the river widens to meet the bay,

A line of black that bends and floats

On the rising tide like a bridge of boats.

Meanwhile, impatient to mount and ride,

Booted and spurred, with a heavy stride

On the opposite shore walked Paul Revere.

Now he patted his horse's side,

Now he gazed at the landscape far and near,

Then, impetuous, stamped the earth,

And turned and tightened his saddle girth;

But mostly he watched with eager search

The belfry tower of the Old North Church,

As it rose above the graves on the hill,

Lonely and spectral and sombre and still.

And lo! as he looks, on the belfry's height

A glimmer, and then a gleam of light!

He springs to the saddle, the bridle he turns,

But lingers and gazes, till full on his sight

A second lamp in the belfry burns.

A hurry of hoofs in a village street,

A shape in the moonlight, a bulk in the dark,

And beneath, from the pebbles, in passing, a spark

Struck out by a steed flying fearless and fleet;

That was all! And yet, through the gloom and the light,

The fate of a nation was riding that night;

And the spark struck out by that steed, in his flight,

Kindled the land into flame with its heat.

He has left the village and mounted the steep,

And beneath him, tranquil and broad and deep,

Is the Mystic, meeting the ocean tides;

And under the alders that skirt its edge,

Now soft on the sand, now loud on the ledge,

Is heard the tramp of his steed as he rides.

It was twelve by the village clock

When he crossed the bridge into Medford town.

He heard the crowing of the cock,

And the barking of the farmer's dog,

And felt the damp of the river fog,

That rises after the sun goes down.

It was one by the village clock,

When he galloped into Lexington.

He saw the gilded weathercock

Swim in the moonlight as he passed,

And the meeting-house windows, black and bare,

Gaze at him with a spectral glare,

As if they already stood aghast

At the bloody work they would look upon.

It was two by the village clock,

When he came to the bridge in Concord town.

He heard the bleating of the flock,

And the twitter of birds among the trees,

And felt the breath of the morning breeze

Blowing over the meadow brown.

And one was safe and asleep in his bed

Who at the bridge would be first to fall,

Who that day would be lying dead,

Pierced by a British musket ball.

You know the rest. In the books you have read

How the British Regulars fired and fled,

How the farmers gave them ball for ball,

From behind each fence and farmyard wall,

Chasing the redcoats down the lane,

Then crossing the fields to emerge again

Under the trees at the turn of the road,

And only pausing to fire and load.

So through the night rode Paul Revere;

And so through the night went his cry of alarm

To every Middlesex village and farm,

A cry of defiance, and not of fear,

A voice in the darkness, a knock at the door,

And a word that shall echo for evermore!

For, borne on the night-wind of the Past,

Through all our history, to the last,

In the hour of darkness and peril and need,

The people will waken and listen to hear

The hurrying hoof-beats of that steed,

And the midnight message of Paul Revere.

The following is an eyewitness account of that day by Sylvanus Wood, who wrote the following in 1828. He was born in 1752 and was 23 at the time of the actual events. This statement was sworn before a Notary.

 "I, Sylvanus Wood, of Woburn, in the county of Middlesex, and commonwealth of Massachusetts, aged seventy-four years, do testify and say that on the morning of the 19th of April, 1775, I was an inhabitant of Woburn, living with Deacon Obadiah Kendall; that about an hour before the break of day on said morning, I heard the Lexington bell ring, and fearing there was difficulty there, I immediately arose, took my gun and, with Robert Douglass, went in haste to Lexington, which was about three miles distant.

When I arrived there, I inquired of Captain Parker, the commander of the Lexington company, what was the news. Parker told me he did not know what to believe, for a man had come up about half an hour before and informed him that the British troops were not on the road. But while we were talking, a messenger came up and told the captain that the British troops were within half a mile. Parker immediately turned to his drummer, William Diman, and ordered him to beat to arms, which was done. Captain Parker then asked me if I would parade with his company. I told him I would. Parker then asked me if the young man with me would parade. I spoke to Douglass, and he said he would follow the captain and me.

By this time many of the company had gathered around the captain at the hearing of the drum, where we stood, which was about half way between the meetinghouse and Buckman's tavern. Parker says to his men, 'Every man of you, who is equipped, follow me; and those of you who are not equipped, go into the meeting-house and furnish yourselves from the magazine, and immediately join the company.' Parker led those of us who were equipped to the north end of Lexington Common, near the Bedford Road, and formed us in single file. I was stationed about in the centre of the company. While we were standing, I left my place and went from one end of the company to the other and counted every man who was paraded, and the whole number was thirty-eight, and no more.

Confrontation at Lexington Green

Just as I had finished and got back to my place, I perceived the British troops had arrived on the spot between the meeting-house and Bucknian's, near where Captain Parker stood when he first led off his men. The British troops immediately wheeled so as to cut off those who had gone into the meeting-house. The British troops approached us rapidly in platoons, with a general officer on horseback at their head. The officer came up to within about two rods of the centre of the company, where I stood, the first platoon being about three rods distant. They there halted. The officer then swung his sword, and said, 'Lay down your arms, you damned rebels, or you are all dead men. Fire!' Some guns were fired by the British at us from the first platoon, but no person was killed or hurt, being probably charged only with powder.

Just at this time, Captain Parker ordered every man to take care of himself. The company immediately dispersed; and while the company was dispersing and leaping over the wall, the second platoon of the British fired and killed some of our men. There was not a gun fired by anv of Captain Parker's company, within my knowledge. I was so situated that I must have known it, had any thing of the kind taken place before a total dispersion of our company. I have been intimately acquainted with the inhabitants of Lexington, and particularly with those of Captain Parker's company, and, with one exception, I have never heard any of them say or pretend that there was any firing at the British from Parker's company, or any individual in it until within a year or two. One member of the company told me, many years since, that, after Parker's company had dispersed, and he was at some distance, he gave them 'the guts of his gun.'"

Neil Young Live - Shepherd's Bush Studios, UK (1971)

I never really know what to post for Sundays. For awhile I was posting old country variety shows; then I switched to something spiritual each week; and for a while it was gospel music. Got some nice feedback; kicked up some old memories for a few folks; but I was casting about today (Thursday) to find something for Sunday, when I came upon this "mini-concert" performed solo by Neil Young in 1971.

I actually listened to it; as well as downloaded it for my car; and found it covers a good portion of Mr. Young's early career. There is some of his coffee house sound still evident in his vocals, which never quite came through when he was singing harmony with Crosby Stills and Nash. Something got lost; although the resultant sound created by CSN&Y was anything but unpleasant.

So, here he is, on Rooftop's stage for the very first time; that incredibly talented bacon lover from North of the Border; Mr. Neil Young at Shepherd's Bush Studios in 1971.

"I Still Miss Someone" - The Story of a Song.

A lot of people associate this song with Carl Perkins and he is often perceived to be the songwriter on it. But actually, it was written by his close buddy, and one of the “Million Dollar Quartet”, Johnny Cash. The "Million Dollar Quartet" was composed of Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash. In 1956 these 4 guys changed the course of music; leading to the fusion of Country/Gospel and Rhythm and Blues which became known as Rock and Roll.

Working out of Sun Studios in Memphis, they pumped out a steady stream of musical hits which earned them their nickname. This song, “I Still Miss Someone” is mostly thought to be a Carl Perkins composition; probably because he got the biggest hit with it. But the song is actually written by Johnny Cash and his brother Roy Cash, Jr. and was released as the flip side of “Don’t Take Your Gun to Town” in 1958.

It didn't really move until it was included on “Ring of Fire: The Best of Johnny Cash” in 1963. After that, the song became so popular that it is included on just about all of Johnny Cash’s live albums throughout the ‘60’s and ‘70’s.

The song has been recorded by Flatt and Scruggs, Martina McBride with Dolly Parton, Emmylou Harris, Stevie Nicks and Ben King; all of whom placed the song in the top 100. It’s that kind of song. It appeals to almost everyone because we all have someone special whom we still miss, even after a long period of time. There are people in all of our lives we may never see, or hear from, again. But that doesn't mean you don’t carry them in your heart just the same.

There isn't a live version on You Tube, so I used Loretta Lynn’s TV version instead. But below is the link to the actual recording by Carl Perkins. He really manages to make the song his own, and it’s no wonder he is often associated with having written it. My friend Glen Slater e-mailed this song to me recently, reminding me that while Carl may still be missing someone, I still miss Carl Perkins.

http://www.youtube.com/watch?v=9g157QavEwY

"Home Grown Tomatoes" - Guy Clark (1983)

Here's a really great song by Guy Clark about one of nature's most delectable delights- the home grown tomato. We all have neighbors and co-workers who grow; and even share; their bumper crop during the summer months. There really is nothing sweeter than a home grown tomato, lightly salted, eaten in the field where it was just picked.

Guy Clark was one of the original members of the group of musicians who can be found in "Heartworn Highways", an indie music film from 1975. Rodney Crowell, Guy Clark, Townes Van Zandt and Steve Earle; all of whom would become legendary songwriters in their own right; really give the viewer an inside peek on what it's like to live and work outside the "norm" as they create some of the best music in decades, launching the independent country movement which would help return the genre back towards it's original roots. If you have never seen the film, you're missing out.

The Animals - Richmond Jazz Festival (1965)

The Animals were one of the most underrated bands of the 1960’s English “invasion”. With their mixture of blues and rock they infused the music scene with something a bit more edgy than the Beatles, or the Dave Clark Five. Groups like Herman’s Hermits and Freddy and the Dreamers, with their “bubblegum” brand of rock and roll, will always be remembered. At the same time, groups like The Animals are an example of the more serious of the bands that came over from England in the mid-sixties.

A blues based band, similar to the Rolling Stones in many ways, the band never sold out and kept on releasing blues-rock recordings, never giving way to the musical changes of the 1970’s. This version of “We Gotta Get Out of this Place” was recorded at the Richmond Jazz Festival in England sometime during 1965. It’s a great example of what the band was doing at the time. The mixture of blues and rock was already well established, but these guys took it to a darker place.

In this song you can feel the youthful frustrations which were rocking the world at the time. Released on the the heels of The Rolling Stones “Satisfaction”, this song highlighted a new generation’s dissatisfaction with the status quo. In Eric Burdon there was a match for the sneering visage of Mick Jagger. And both groups projected a menacing working class attitude that things needed to get better.

I know I am a dinosaur when it comes to the music I love, but what can I do? Groups like The Animals really influenced an entire generation of young people; for better or worse.

Recording "Summertime" - Janis Joplin (1968)

The creative process behind the music we listen to has always fascinated me. The interaction between the musical artists; who can hear in their heads the sound they are attempting to create; and the producers/engineers, who are attempting to understand the artists  creative concepts can sometimes be fraught with peril. Witness Phil Spector’s famous shooting of a pistol while working; for the last time; with John Lennon, over some difference of opinion in the studio.

So, I was delighted to run across a piece of video, on You Tube of course, of Janis Joplin with Big Brother and the Holding Company, recording “Summertime” for their upcoming album “Cheap Thrills”, which would be released in the late summer of 1968. This video was shot at CBS Recording Studios in New York City.         

The video; which was too large for the video player here, according to blogspot; runs a little over 10 minutes. In the video, Janis is clearly in control, while at the same time displaying a unique quality to compromise with both the band and the engineer/producer John Simon. The band felt that he did not understand their psychedelic sound. Manager Albert Grossman was in agreement with Mr. Simon, and pressured the band to change some of their arrangements on several songs. Their reaction to this is evident in the video, as they attempt to talk music with a technician and businessman.

As the video begins, the band is rehearsing, sounding like the best garage band on earth, as Janis enters the studio dancing. This would be their first album for Columbia, and the band is clearly excited. The album would not be released until late that summer/ early fall, and so the band worked on the record on their off days.  The “Lenny” who Janis refers to in her story about the “bust” in Vancouver is Henry McCullough, who would later play with “Wings” and Paul McCartney. Janis is clearly pissed about the whole incident, particularly the way in which “Lenny” was being used by his record company, as well as his band mates and manager. But, she is able to put all that aside in an instant to begin recording her iconic rendition of “Summertime” from Gershwin’s “Porgy and Bess”.

The band is summoned into the control room to listen to the playback, and a very technical discussion begins between the band members and Mr. Simon, who is clearly not in touch with the vision the group has for the song. This is one of the most interesting parts of the video, as the band shifts, seamlessly, between the music and some gossip about a party the night before. It seems that James Gurley, the group’s guitarist, had put on quite a load the night before, and his band mates just can’t resist ribbing him about it.

The cover for the album was supposed to be a black and white photo of Janis, alone. This was the suggestion of Mr. Grossman. His working motto was always to conquer and divide the artists with whom he worked. But, Janis would have none of it, opting instead for the brilliant cover art of cartoonist Robert Crumb, who was a staple of the psychedelic scene in San Francisco, where the band was based. He had already done several posters advertising gigs for most of the bands in San Francisco at the time, including Big Brother’s shows at the Avalon Ballroom.

The album, which was to be recorded live; and actually states that on the inside cover; contained only 1 song, which was recorded at Winterland in San Francisco; “Ball and Chain”. And, even that version was altered, with James Gurley overdubbing a new intro.

Originally named “Sex, Dope and Cheap Thrills”, Columbia nixed the title, allowing the band to retain only the “Cheap Thrills” portion. It went on to 8 weeks at number one, though not in succession. The biggest hit on the album was “Piece of My Heart”, which went on to become a classic of the era. It’s still played daily on most “classic rock” stations. By October 15^th the album had already surpassed $1 million dollars in sales. Shortly after that, the album sold over 1 million “units”, or copies.

I still have my original vinyl copy of the album. The cover is in excellent condition, and I have been thinking of framing it as a way to capture a bit of the past. Here is the link to the You Tube video which prompted me to write this short article;

http://www.youtube.com/watch?v=HesegFuY3pk

"The Weight" - Mavis Staples, Nick Lowe and Wilco

Music is magical and can happen anywhere at any time. This video from You Tube was filmed last December in Chicago prior to the Nick Lowe concert with Wilco and Mavis Staples, who sang this iconic song with The Band in the film “The Last Waltz” over 35 years ago. She still has the “chops” to make this song reverberate, and along with veteran performer Nick Lowe and the contemporary band Wilco, the song itself shows no sign of ever “aging.” It’s timeless. Ah, but were that true of us all…