"On the Road with Janis Joplin" by John Byrne Cooke (2014)

To my mind there has never been a good book yet about Janis Joplin’s life on the road; from Big Brother and the Holding Company through the final days of the Full Tilt Boogie Band. Now there is. John Byrne Cooke was the road manager for all three incarnations of Janis’ career and he was taking notes; and filming some of it on his 8mm. And because he did that we have a great record of what Janis; and the 3 bands she fronted; were doing from early 1968 until her death in October 1970.

Written in the present tense and against the backdrop of the Vietnam War and the attendant election of Richard Nixon in 1968, this book is almost animated in its presentation. The 1960’s were lively, to be sure, which can make them difficult to capture on paper. No such problem for the author here. He has done a great job of melding the two into a very entertaining, and yet informative, account of one of the most vibrant stars of the decade.

Along the journey you will hear the story behind some of the stories which have become legendary since Janis Joplin’s passing. The Jim Morrison and Janis fight; in which she smashed a bottle on his head while playing pool and he told her she couldn’t sing the blues worth a shit;  or the slapping of Jerry Lee Lewis, who slapped back; are two great examples of the raucous side to Janis. But there are softer moments, too.

A bit of rock and roll history gets thrown in; the situation which existed in NYC that literally made Bill Graham feel as if he had to open a decent musical venue on the East Coast is explored. The Anderson Theater was right across the street from another old Yiddish Theater. Bill Graham had it up and running in about 8 weeks flat. Big Brother and the Holding Company were the headliners on opening night.

My own memory of “Cheap Thrills” did not include the fact that within a few weeks of the album’s release and ascension to number 1 on the charts in November 1968, the band dissolved by the end of November. Janis was going to front a new band and they were already booked for engagements beginning in January. Many fans were upset with the breakup. Big Brother seemed to embody the San Francisco scene and the album, with its cover by Robert Crumb, quickly became an icon of acid rock and hung on the walls of many bedrooms across the country.

This new band became the Kozmic Blues Band and featured a horn section for the first time. With this album’s releaaseI began to think of Janis as the female version of James Brown. Listen to, and watch, some of the performances and her introductions on You Tube and you’ll see what I mean.

Still not happy with the sound she was searching for led to the Kozmic Blues Band going through many changes in personnel. Mr. Cooke has supplied a listing of personnel associated with each band at the front of the book which comes in handy for reference on several occasions. Just keeping track of the horn section is a chore. They underwent 3 changes in that department before getting it right. Still, they produced a magnificent album with the release of “I’ve Got Them Ol’ Kozmic Blues Again Mama.”

The author also adds a nice touch to the book by showing the dates of almost all of the shows Janis performed with the band during his time as road manager, which was pretty much her entire recorded career from before “Cheap Thrills” until the very end. This lends an air of immediacy to the narrative as you can actually see the hectic touring schedule as you read about what the band was up to in between shows and cities.

With Full Tilt Boogie Band being formed and a new album waiting to be recorded Janis ventures back home for a high school re-union in 1970. I always have felt that this visit; along with the lack of any real acknowledgement of her success by her peers; contributed to her spike in heroin use which finally killed her a few months later. Instead of just giving her a dozen roses and making her feel welcome, she was summoned to a meeting of the “clique” and asked what she “wanted”.

What can you say to that? So, she replied that she was just there to enjoy herself and they took that a license to basically ignore her. That; along with the fact that her parents were away at a wedding for someone else’s daughter; had to have hurt her. You can see it in her face when watching the film of the press conference.

The Full Tilt Boogie Band had recorded about 10 songs for the new, as yet unnamed, album when Janis died. The numbers ran from a Capella to raw vocal tracks and even an acoustic version of “Me and Bobby McGee”, the song written by Kris Kristofferson. If you look at the material you get the sense that Janis was trying to lay out all of her musical influences and styles in one album. This is a woman who was influenced very early on by Jean Ritchie and her dulcimer; which she often played using a feather. She was also a devotee of Bessie Smith; a la “Turtle Blues.” And she also enjoyed country music, hence her acoustic version of “Bobby McGee.” With her death came the unique problem of what to do with these recordings.

The outcome was a posthumous album which would have made Janis proud; “Pearl.” It was named using the nickname she had bestowed upon herself while on the road. It was a way for her friends not to have to call her Jains Joplin. When Kris Kristofferson was invited to the studio to hear the demo of Janis singing “Me and Bobby McGee” he was only able to listen to the first 2 verses before leaving in tears.

This is still my favorite version of the song. It’s exactly the same length as the overdubbed version on “Pearl”. I have included a link to it here;  http://www.youtube.com/watch?v=E5EArR3Qnzg

If you like Janis Joplin you will find this book very enjoyable. If you are interested in the 1960’s there will be much to interest you. And if you enjoy learning about the history of making music this book will fit the bill nicely. 

But the best part of reading this book is that it was written by someone who enjoyed what he was doing then, and is still finding satisfaction in it all these years later. His enthusiasm for his subject is palpable and easily transferred to the reader.

Dick Clark, Mom and Me.

I suppose everyone on the planet knows by now that Dick Clark has passed away at age 82. The iconic TV host was a rare act. He was the man who integrated television with his show "American Bandstand", which showcased the latest pop music acts as the studio of teenagers danced. His show highlighted acts such as James Brown and Chubby Checker. This was a very risky thing to do in the 1950's. The country was still struggling with Jim Crow, and whole communities refused to air his syndicated show, which featured "Negro" artists, as well as African-American teens dancing alongside white teenagers. This was considered by some to be "race-mixing", but was of no concern to Dick Clark. With him, it was all about the music.

In his later years he hosted a TV show, and was also a mainstay on ABC's "Rockin’ New Year’s Eve". And when he was stricken by a stroke, he came back to host the show again, with his speech improving every year. That was his finest hour, and ABC really went out of its way to show how much they valued him as a true "American Idol", when they continued to have him emcee the “Rockin’ New Year’s Eve” show with Ryan Seacrest. It was a passing of the torch played out in front of an annual audience of millions each year. And through it all, he even managed to stay perpetually young looking, almost like Dorian Gray, but without the malice or evil qualities.

Now; as for the connection with my Mom and Dick Clark; I have very early memories, even of my crib, as well as my playpen. My mother used to iron in front of the television, usually in the late afternoons. The first shows I actually recall on TV are “American Bandstand”, “The Art Linkletter Show”, and “The Gale Storm Show”. But "Bandstand" stood out among all of the others; and for good reason. This was only about 3 years before my mother was stricken with severe medical problems which would plaque her until her death in 1984. But, when I was 3 years old, she was still animated and joyous. And that is where Dick Clark comes in.

“American Bandstand”; with my Mom dancing to the music as she ironed; is one of the last memories I have of my Mom before she became ill. So, the two will forever be entwined in my memory. Coincidentally they were both the same age, although my Mom passed away several years ago, in 1984.

So, whenever I watched Dick Clark on "Rockin' New Year’s Eve", I was instantly transported back to a time; and place; when all was right in my little world. The photo posted at the top is how I remember Dick Clark looking in 1957. He was 28 years old at the time. It is also the face I saw last New Year’s Eve, when he was 82. The man was; simply put; young at heart. I can think of no better tribute than that.

Here is what I saw from my playpen in 1957 as my Mom ironed;

"The One" by R.J. Smith (2012)

Author R.J. Smith has done a superb job in this stunning biography of the Godfather of Soul, James Brown. As a matter of fact, he almost eclipses James Brown's "I Feel Good" in this painstakingly researched analysis of one of the most remarkable show business careers.

The author begins the book with a brief, but compelling, introduction, which he uses to explain the historical background of slavery in the Charlestown area of South Carolina. He further extends this introduction as a means of explaining the origins of Rhythm and Blues, as well as Soul Music. It's all in the Upbeat, not the downbeat. James Brown called it "The One", from which the title of this book is taken.

Born in Barnwell, South Carolina; a cotton growing area that was pretty much played out when James Brown was born; the roots of oppression were still palpable in the Jim Crow South of his youth. These roots would have a profound effect on his life, and later, his career. This background is where he got his toughness from, and that quality would serve him well for his entire life.

Born on May 3rd, 1933, Mr. Brown described his birth as "stillborn". His mother wept, while the midwife blew the breath of life into him, taking precious minutes to bring life to the motionless body that had emerged from his mother's womb. Technically, the term "stillborn" describes a baby that is already dead in its mother’s uterus, but the implications to Mr. Brown were the same; he was born dead; and perhaps that is why he worked so hard to live his life to the fullest.

Variously, Brown claimed to be Cherokee, Japanese, and even believed himself to be descended from Geronimo. By the time he passed away, he was undoubtedly related, in some way, to everyman. His music cut across boundaries and created new sounds, with his inimitable style fostering the Soul music of the 70's, along with ushering in Funk, the precursor of today's Rap/Hip Hop music.

James Brown was undoubtedly one of the most complex of individuals. His thoughts, and beliefs, are all given great scrutiny by the author, while not falling prey to the over examination which can turn a good book into a boring one. But, then again, how can James Brown ever be described as boring. This man was on the road for months at a time, working about 300 days a year for decades. His travels took him from the Chitlin' Circuit of his native America, to the jungles of Vietnam; and later to the jungles of Africa with Muhammad Ali; and near the end of his life to the great opera house in Milan, where he sang with Luciano Pavarotti in a stirring combination of musical styles.

His politics, like the man himself, were a puzzle in many ways. He was patriotic, during a time when that emotion could cost a star some of his fan base. He supported the War in Vietnam, even as he realized that the draft affected the black community in a disproportionate way.

This is the man who took a young Harlem preacher named Al Sharpton under his wing, teaching the younger man how to talk, walk, and even how to wear his hair.

When Martin Luther King was killed in April 1968, it was James Brown who kept the peace in Boston. In a scheduled concert, which was also aired on local TV as a way to keep the younger people off the streets, his fans took to the stage, causing the Police to make an attempt to protect him. He waved them off, while at the same time scolding the audience not to embarrass him, or their own race. There was no trouble in Boston that night.

During the 1968 Presidential primaries; after the assassination of Robert Kennedy; he gave his endorsement to Hubert Humphrey, a man who had been spearheading Civil Rights in Congress, and the Senate, for almost 20 years before attaining the office of Vice President. But even as Brown endorsed the man, he challenged him to deliver on his promises.

Creatively, James Brown opened the doors for much of the music we hear today. His landmark live recording, "James Brown Live at the Apollo", recorded in 1962 with the singer's own money, is still one of the best live recordings ever made. The story of how it almost didn't get recorded is a tribute to the guts that defined the life of this musical giant.

Long known for his excesses with women and drugs, this book is a more accurate look at the man beneath the hype. Carefully researched, and filled with the words of those who knew him best; as well as his own; the author has drawn the most complete portrait of James Brown written to date. Future biographers will undoubtedly be quoting from Mr. Smith's extraordinarily researched work in order to tell the story of James Brown's life in a fair and balanced way.

James Brown and the Rolling Stones on the T.A.M.I. Show (1964)

The T.A.M.I. show was the brainchild of director Steve Binder, who put it all together in late 1964 as a way of gathering all of the greatest current "pop" acts in one show. The acronym stood for Teenage Music International, or Teenage Awards Music International, depending on where you look it up. It was a genius move, staged at the Santa Monica Civic Auditorium in October and filmed in Electronovision, a technology which enabled the TV footage to be transferred onto the big screen. The line-up allowed the audience to experience a variety of performers, such as the Beach Boys, Chuck Berry, Lesley Gore, the Supremes, Marvin Gaye, James Brown and his Famous Flames, along with the Rolling Stones. As a matter of fact, the Rolling Stones had to follow James Brown as the closing act.

Just before they were to step on stage the Stones were watching this performance of James Brown, with his Famous Flames, from the wings. They were very worried, with Mick Jagger wondering how the band would ever be able to follow the act they were witnessing. Clearly, James Brown should have been the closing act. Additionally, during the 4 days of rehearsals for the show, James Brown did not rehearse. He had a unique act, and coming fresh off the road, he felt no need to. Consequently, the Stones, like so many others at the time, had never seen James Brown perform; they had only heard his records.

With Jagger worried about his dance moves, and Keith Richard concerned about following one of the greatest R and B bands of all time, they wound up pouring everything they had into their act, which included the newly released "Time Is On My Side." Watch Jagger dance. Although no real match for the Godfather of Soul, he really does a lot more than he ever had before during this performance.

Music crosses all boundaries, and the T.A.M.I. show was a landmark concert which brought together white and black music in the middle of some of the most racially charged times in the nation's history. And that music had an extraordinary effect on some of the biggest social issues of the time.

Here are the Rolling Stones, immediately following James Brown and his Famous Flames;

"I Feel Good" by James Brown

To put it quite simply, James Brown was to music as Muhammad Ali was to boxing; that is to say that they both changed all the rules, resulting in a more equitable share of the profits generated by their efforts. Prior to these two men of color, African-American artists, and boxers, were routinely "ripped off" by their managers, as well as the media who exploited them.

His early life consisted of virtually no formal education, yet he had a vision of the sound he wanted to achieve. Teaming up with Bobby Byrd, he altered the course of R&B forever, while at the same time giving birth to "Soul" Music. He is, of course, known as the "Godfather of Soul", as well as the "Hardest Working Man in Show Business". Just You Tube "Please, Please, Please" sometime and watch this man work his incredible talent. Few people realize that James Brown could play several instruments, arrange and even conduct his own music when necessary. The result was always staggering.

After only a brief stint as a member of the Flames, Mr. Brown took over the group, in the same way that Chuck Berry took over Johnnie Johnson's band. It wasn't sinister, they simply were the best front men for those bands.

When Boston was about to erupt into violence, on the evening of Martin Luther King's assassination, it was James Brown who quelled the riot. Using only words, he was able to turn an angry mob at his show, who were being harassed by the police for climbing on the stage to touch him, back into an audience. This video shows part of that concert, with the action described here taking place between 1:58 and 3:40 into the video. This man commanded "respect", and got it, too!



In May of 2002 he teamed up with Luciano Pavarotti and performed "It's a Man's World" at the Opera House in Modena, Italy. Pavarotti sang, using his famous voice, in a stunning counterpoint to Mr. Brown's. He even sang a completely different melody, though I do not know the name of the song which he used. The effect is amazing. You can watch it here with the translation;



Although his later years were shadowed by drug use, including the infamous 2 state, crack fueled police chase, James Brown was the man. This book takes the reader on a lifes journey in the author's own words, including his views on race and politics. In the book, just as in life, James Brown gives it his all, holding nothing back.

James Brown - "Live at the Apollo"

The one album which every music fan should hear is James Brown's recording "Live at The Apollo." It was recorded on October 24th, 1962 at New York's famed Apollo Theater in the midst of the Cuban Missle Crisis, which had been ongoing since October 18th, and would not come to a conclusion until October 29th.

There are several reasons why this album is an essential part of any music collection. The first is that it almost didn't happen. James Brown funded the recording independently, years before other artists would do so in a routine fashion, when Syd Nathan of King Records refused the money needed to record the show. He thought the idea was foolish. The album went on to become one of the top 100 records of all time.

Secondly, the quality of the recording is superb! The vocals are exceptionally crisp and clear, as are each and every instrument and backup vocal. The gospel like rendition of some of the songs gives the entire album a feel of spirituality and excitement. It's like being in a Southern Baptist Church. The audience reactions are a definite part of the proceedings.

Culturally the album reflects the Northern migration taking place at the time as African-Americans continued, as they had since the years before World War Two, to arrive from the South to the industrial cities of the North, bringing with them their own brand of music.



Having been recorded in the midst of the Cuban Missle Crisis lends an almost religous double entendre to songs such as "I Lost Someone", as well as the medley which begins with "Please, Please, Please." When they reach the part of the medley containing "I Lost Someone", which is the song posted here, Mr. Brown is clearly singing to God. The song is a love song to a lover, but also a prayer for salvation. The plaintive way in which Mr. Brown delivers the song draws your attention to the dark events of the Cuban Missle Crisis,which was taking place just outside the doors of the Apollo, engulfing the entire world. The fact that New York City was a target, and could even have been hit during the show, lends a high drama to the performance.

And finally there is the cover art. It is pure Harlem Impressionist at it's best. This album, with it's R and B songs, as well as early Funk and Soul, would lay the groundwork for the sounds of the 1970's and 1980's , with Parliment and the Funkadelics, not to mention the ground breaking sounds of Bootsie Collins. And let's not forget Michael Jackson's "Moon Walk", which was nothing more than James Brown doing his famous shuffle.

No matter how you view this album, or how you hear it, there can be no denying that this was a seminal album, sown from the roots of Gospel Music and Rhythm and Blues. The sound that was created became known as Soul Music, which eventually gave way to Funk and Hip Hop, and today's Rap Music. The future of those genres was born the day James Brown took hold of a microphone for the first time. The same applies to Chuck Berry, Ike Turner and Little Richard in relation to Rock and Roll. Everything that followed in that genre came from those artists.

This album is not for everyone, but it is an important one in the sense that it was a stepping stone to a new sound. I highly recommend it. If you have never heard this live recording before, you need to give it a try. It's some of the most visceral, and real, music which you will ever hear.