Charlie's Good Tonight by Paul Sexton (2022)

What can you say about the Rolling Stones which hasn't already been written? Quite alot as it turns out. Especially in a biography of the enigmatic Charlie Watts. Of all the Rolling Stones he was perhaps the one whose life was the least chronicled until now.

From the very first page, with Forewords by Mick Jagger and Keith Richards, this book by longtime Stones biographer Paul Sexton swings just like Charlie Watts did, never missing a beat. And it is certainly on time.

Basically Mr. Watts was a gentleman throwback to an earlier era. He even wished he had been born in the 1800's. He was the most satorially turned out of the band, eschewing the wilder clothes of his profession for the stately dress of an earlier era. He even owned, and wore, antique suits which once graced the body of King Edward III. They were the exact same build, as he found out after buying the suits at an auction, intending to have them replicated by his tailor.

He took pride in his unusual collections of jazz memorabilia, including unplayed 78 PRM's which he bought from an obscure record store in Vienna. These were original issues of some of the finest recordings ever made, still in the original record sleeves, where they remained, unplayed, in his collection.

He had an incureable case of OCD which he used to his advantage in his collections of cars, clothes, antique guns and of course in his music. His sense of humor is unchallenged in the world of rock and roll. Case in point is when a fan, at the conclusion of an interview, which he hated to do, asked him repeatedly for something, anything, to remember her encounter with him. He stood up and gave her his chair.

With his wife of 6 decades, Shirley, he had over 250 Arab Stallions. Some went for as much as $700,000 apiece. Together, the two ran a stud farm. He also collected antique carriages and owned hand bespoke riding outfits, although he didn't ride. Par for the course since he owned many fine automobiles, even though he didn't possess a driver's license. He simply enjoyed sitting in them.

The book was written by Paul Sexton, using private conversations he'd had with the drummer for about 40 years as the basis of the biography. These are carefully collated with memories of those who knew him best. There are stories by childhood friends with whom he played jazz music for the rest of his life. They even toured quietly when the Stones were not on the road.

On the road he missed home, often calling his wife and daughter Seraphina, for hours after a show, while his bandmates lived the wilder side of the business. When he was home he wanted to tour. His only encounter with the wild side of the business came in Paris, when during the early 1980's he had what Keith Richards describes as " a wobble of his own." Alcohol and hard drugs were his choice for just a few short years before he simply quit using them. No rehab. Just quit.

The book is written in the chronological order of his life. His passions, his love of family are all on display. Whenever possible he took his wife on tour with their daughter. In later years his granddaughter Charlotte was his companion on the road. It was a truly loving relationship they shared, and touching to read about.

The book is written in such a way as enables you to keep reading. The book's 330 odd pages flew by with little effort. I thoroughly enjoyed it and hope that others will read it with the same result. It is at once the highly personal biography of a basically private man. He never really understood what all the fuss was about.

And in the end, Mick Jagger had it right in 1969, when he famously remarked on "Get Yer Ya Ya's Out", that "Charlie's good tonight...." But then again he always was. This was a superb read. 

Ike Turner, Rocket 88 and the Invention of Rock and Roll (1951)

It was March 3, 1951 when Jackie Brenston and His Delta Cats; featuring Ike Turner on lead guitar; recorded what many believe to be the first real “rock and roll” record; “Rocket 88”. But, that’s like saying Chuck Berry invented the guitar break when he did his bit on “Maybelline.”

So many people had a hand in developing rock and roll; each one taking a little piece from here and there; that it would be just about impossible to credit any one individual with the feat of creating the genre. I think that’s true of all art. Shakespeare refined it; but the play had been around previous to his efforts. He just took it in a new direction.

But it would be hard to ignore the influence that this one record had; and continues to have; on music fans all over the world. It ranks alongside of “Rock Island Line” by Lonnie Donnegan as one of the rare records which influenced many future rock and rollers to buy that first guitar and learn to play.

I saw Ike Turner with Tina in Central Park back in the early 1970’s. It was one of the Schaefer Beer Festival concerts. They were always lively affairs. Between the excitement of the concert itself, along with the people trading acid and weed; which sometimes included me; plus the actual beer vendors, the crowd was; to put it mildly; very loose.

And the police were always on hand to guard “the rock” which overlooked the Wolman Skating Rink and offered a very clear; and free; view of the concert form the side of the stage. So, there was always kind of a friction between the police; who were trying their best to get the people off the rock in a civilized manner. But sometimes; depending on the combination of beer, acid and weed; this did not go smoothly. But it was all part of the attraction for these concerts.

 

Then there was the night I saw Ike and Tina Turner and someone tried to get up on stage to get to the Ikettes; the scantily clad New Orleans looking backing group known for their modest way of dressing. Ike saw the guy get past the security and climb up the stage front; then, between chords he managed to get his Stratocaster off and using the neck just bashed this guy in the head. The guy went down and Ike missed nary a note.

I think Keith Richards learned some of his moves from Ike. He had the same problem at a concert in Europe and did the same thing. By the way, Ike Turner was one of the opening acts for the Stones at the Garden in 1969. In his book, “Life”, Richards describes Ike pulling him into his dressing room at knife point; demanding to be shown “That 5 string open tuning shit.” Richards says it took him 45 minutes to get it down. The next Ike and Tina Turner album was done all in 5 string open tuning.

Anyway, whether or not you consider this recording to be the first actual rock and roll recording; or not; it’s one fine record and definitely a step ahead of all that followed.

"Brian Jones" by Paul Trynka (2014)

Brian Jones is almost the “forgotten” Rolling Stone; and yet he was the founding member. A strong case can be made for Ian Stewart holding that position, but it was Brian Jones relationship with Alexis Corner which spawned the Rolling Stones. It was also Brian who named the band after the Muddy Waters hit of the same name.

A devoted champion of the blues way before Clapton or even John Mayall; an early explorer of the sitar at same time as George Harrison; and  even the open tunings which Keith Richards uses today and credits to Ry Cooder ; all came from Brian Jones. You can listen to the early albums and hear for yourself. And the African drums on Midnight Rambler; just a few months before his death; were his, in idea as well as execution.

He virtually wrote the final music for “Ruby Tuesday”, “Under My thumb” and “Paint It Black”; never receiving written credit or royalties for any one of those iconic recordings; which would both become smash hits and earn millions for Jagger-Richards. The early Nanker-Phlege musical collaboration; which was named by him and incorporated all of their musical efforts; was conveniently abandoned, further diminishing his perceived role in the group; and marginalizing him in his own eyes, as well as the public’s.

Slide guitar playing was the provence of African-American blues up until that time.  Championed by Jones long before anyone else was doing it in Europe, he influenced everyone around him and set the course for pop music’s entry into serious blues. He even introduced Howlin’ Wolf on American TV during prime time on “Shindig”.

Style wise, his clothes sparked the fashions of Oxford Street as he exchanged clothing with anyone; male or female; he met during the day. This resulted in an array of styles which became iconic of Mick Jagger and Keith Richards, as well as the uni-sex fashions which emerged at the time. His “pageboy like” haircut was the basis for The Byrds hairstyle; not the Beatles. Even Ringo Starr copied that long pageboy look from Brian Jones for a short while in 1965. And let’s not forget to mention the granny glasses and vests predating Sonny Bono’s.

But in the bands history; chronicled for the 5oth Anniversary of its founding; his influence has been minimized, and in some cases erased altogether. Even in the book “Life” by Keith Richards; which is one of my favorite autobiographies; he is reduced to almost a side note; never receiving his just due.

The celebrated drug busts by Detective Sgt. Pilcher and the Flying Squads; who counted John Lennon and George Harrison among their other celebrity conquests; also hit the guitarist in a hard way. The harassment of Mr. Jones by Scotland Yard rivals any of the later problems faced by Keith Richards.

The controversy surrounding his death and the resulting conspiracy theories are explored and debunked. The deathbed confession of the man who claims to have drowned him in the swimming pool does seem to be as Mr. Richards describes it in “Life”; just something that can never be verified.

Jones had 4 children; all born out of wedlock.  Linda Lawrence; who was pregnant with Jones child when she married Donovan; provides some interesting insights into the way the guitarist dealt with relationships at the time. How he avoided paternity suits and legal actions concerning support for those children is a mystery to me. He even had one father coming to his house demanding money for support of one of his children. Surely, this is no flattering portrait of Mr. Jones, which makes the book all that more credible.

If you enjoyed Keith Richards “Life”, then you owe it to yourself to read this book. They belong side by side. It will not detract from the former; rather it will give you a clearer picture of what happened to one of the most talented of the original Rolling Stones; the one who actually put the ad in the paper which resulted in Ian Stewart meeting Keith Richards and Mick Jagger, and which gave birth to the band.

"The Nearness of You" - by Haogy Carmichael (1941) 2 Versions

There are two ways in which I wanted to approach this post. The first was through Keith Richards’ autobiography “Life”; which I am in the process of re-reading. I wanted to simply compare the original version of this song by Hoagy Carmichael with the one recorded by Mr. Richards along about 1979. It was written in 1941 and has been recorded by just about every major name in show business. But it’s not a song you would usually associate with Keith Richards.

The second approach was more along the lines of “look what happens to the Rolling Stones whenever Mick Jagger leaves the stage.” In the video above the band backs Keith in his rendition of “The Nearness of You”, and towards the end he performs a beautiful guitar solo in the way in which only he can.

It’s a bit like the performance of “You’ve Got the Silver” in the “Shine a Light” concert at the Beacon Theater. (I was actually on the list for the $25 tickets and didn’t go!) There was all this high rock and roll energy filling the air one moment and then this beautiful, cooling performance by Keith and Ron Wood; mesmerizing the audience with the song.

The best part of watching the performance of this Hoagy Carmichael song is the back story. In the book “Life” the author recounts having made a tape of himself, along with Bobby Keys, doing a version of the song.  He then gave it to an associate who forwarded it on to Mr. Carmichael. This is about 6 months before Mr. Carmichael passed away in 1981. He actually listened to it and took the time to phone Keith Richards in Barbados to tell him how much he admired it.

As a matter of fact he claimed that Keith Richards version was closer to the way he had originally conceived the song! To say that Keith was bowled over by the phone call would be a major understatement. So, here are the Stones; sans Mick Jagger; doing a wonderful version of the song written by Mr. Carmichael over 70 years ago.

And here is the link to Hoagy’s version; I was unable to find any live footage and I couldn’t get the big machine to allow me to download the audio except by a link.

http://www.youtube.com/watch?v=B5nInrZdcVs

Mr. Carmichael circa 1953

"Act Together" - Ron Wood (1974)

The Rolling Stones needed a new guitarist when Mick Taylor left the band in 1974. And what a fit they found when they took in Ron Wood. Although he would not become an “official” member of the band for a few years, his style influenced the Rolling Stones to such an extent that the Rolling Stones of today is almost indistinguishable from some of Mr. Wood’s earlier work on his 1^st solo album “I’ve Got My Own Album to Work On.”

In this live video; colorized at a later date; Ron is joined by Keith Richards for this great performance of “Act Together” from Mr. Wood’s solo album. Notice that Keith Richards is playing the piano for this one.  Mr. Wood and Mr. Richards later combined their talents in a group called The Barbarians; or, as they have become known; the First Barbarians; as the group had a couple of different incarnations.

Keith Richards vocals are almost identical to Ron Wood’s. They harmonize vocally as well as they weave their guitars while playing for the Stones. It’s no wonder these two got along so famously.

If you really want to read about how the two met and blended their musical abilities read Keith Richards incredible autobiography “Life.” The sections dealing with the making of Mr. Wood’s solo album; with a little help from his friends; is a great insight into how the Stones sound evolved from the more “poppish” musical genre into the cutting edge band which it still is today. This video is a great place to start.

"The Autobiography" by Chuck Berry (1987)

The only problem with this book is that it’s just too short, covering only the years from Mr. Berry’s birth in St. Louis in 1926 until 1986 when he wrote this book. At the time he was just beginning to edit the the classic rockumentary “Hail, Hail, Rock and Roll!” with Keith Richards. That film, together with this book, gives a complete picture of what went into the making of the man, but both leave out the next 25 years; from 1987 until today; and with Mr. Berry still walking amongst us, it would be nice to have a more current view into his life.

That said; you could not ask for a more personable read from a man who is iconic of the music he plays; rock and roll. John Lennon once said that “If you were to try and give Rock and Roll another name it might be called Chuck Berry.” And, he was right.

Skillfully written, with no ghost writer, Mr. Berry takes you on a no-holds barred tour de force of his life. Beginning with his childhood, and some of his first sexual stirrings, he paints a vivid picture of a young man yearning to be free in every way possible. This is the attitude which would bring him world-wide fame, and at the same time, this attitude helped to lead him off the beaten path at times, resulting in his incarceration for robbery at age 17, and then again for a supposed violation of the Mann Act in the early 1960’s. He also served 120 days for tax evasion in the early 1970’s, at a time when his career had gained new momentum. His candor in describing these periods in his life is admirable.

Mr. Berry was a victim of the unscrupulous practices which were then the norm in the music publishing business, including the song “Maybellene”, which listed DJ Allan Freed and Russ Fratto, the publisher, as co-writers. It took 25 years for Mr. Berry to get the rights back for his own song. And even then, most of the back royalties would never be realized.

The strong influence of his parents is evident in almost every aspect of the book, as the author recalls his father’s warning words of wisdom several times throughout this remarkable book. Filled with alliteration and internal rhymes, the book reads as fluently as one of his songs.

With a keen business sense, Mr. Berry is able to parlay his success in the entertainment industry into a successful career in real estate on the side. Beginning in 1957 he began work on Berry Park, a place where people could gather, picnic and listen to music in his hometown of St. Louis. It is still a work in progress, but does house a nightclub, and several other buildings, as well as a small lake. Several concerts were held there during the 1970’s, all to the benefit of the community.

The history of his joining, and then taking over, Johnnie Johnson’s band is given careful attention, helping to dispel the often told story that Mr. Berry simply came in and “took over.” As with most things, there is a second side to the story. Like-wise with the famous, but much overblown, story about not lyp-synching on American Bandstand as requested by Dick Clark. Although they did have a difference of opinion about the subject, it was never the clash of titans it was made out to be.

This is a very good book written by a very complex man who struggled to attain his goals at a time when many obstacles were placed in his path by society. It was written when Mr. Berry was 60 years old, and he is still with us today. It would be a gift to have Mr. Berry pen another volume covering the years since this book was written. So much has happened since then, including the release of “Hail, Hail, Rock and Roll”; a small clip of which is posted below.

At the risk of being redundant I will quote John Lennon once again; “If you were to try and give Rock and Roll another name it might be called Chuck Berry.” He was definitely right.

Django Reinhardt and Stephane Grappelli

In just about every musical autobiography I have always come across the name of Django Reinhardt as being an influence for such diverse musicians, and genres, as Keith Richards, Chet Atkins, Paul Simon, and the list goes on and on, including some of the greatest names in jazz. Here is the video I was hoping to post but for some reason would not load; the one above is short and only shows the drummer;

http://www.youtube.com/watch?v=_fc3hffDNr8

The funny thing about it is that I had been listening to his violinist/accompanist Stephane Grappelli since I was about 19 years old, when Mr. Grappelli recorded “Hobo Blues” with Mr. Simon at the end of his first solo album, which ends with the song “Papa Hobo” as track 8 and morphs into a 1 minute and 22 second violin rag which I have always loved and carried around, either on tape, or now on CD.

So, when I first started listening to the music of Django Reinhardt and hearing Mr. Grappelli’s violin I assumed that Mr. Simon was just imitating his style. Here I am, over 40 years after the song’s release and I find out that the violin I have been hearing on that track is actually Mr. Grappelli himself, playing with Mr. Simon.

Yesterday’s review of the Ricky Skaggs autobiography is just another example of the far reach which music has over time and place. Even Mr. Skaggs credits Mr. Grappelli with having opened his ears to a new way of interpreting the old sounds, which form the basis of his own music. As I listen to “Jatteendrai Swing” I can hear where the basic sound of Spade Cooley, and even Hank Williams, comes from. And the influence doesn’t stop there. It will only keep growing, shaping the music of future generations through the music of our own.

Here’s the Paul Simon You Tube link so that you can hear Stephane Grappelli doing his stuff 30 odd years down the road from the video above.

http://www.youtube.com/watch?v=51MagA8o7Ow

"Hey Joe" - The History of a Song

This is a group you probably never heard of doing a song you probably never remember not hearing. The Leaves were one of the hundreds of "one hit wonder" type of bands; although they never had a hit. But they did secure a place in the history of rock and roll when they released this song in 1966. It didn't get much airplay at the time. That's because it wasn't famous yet.

The Leaves picked the song assuming that it had been written by the copyrighted author of record, Dino Valenti. But in reality, Mr. Valenti, who had been in prison serving time for a drug sentence, lifted the words and music from a performance by the real author, Tim Rose, at San Quentin on January 1, 1965. It was about a year later that Mr. Rose was finally informed of this; just before he was about to record his own solo album, which would include his own version of the song.

His friend, Hillel Resner, asked his father, who was an attorney in San Francisco, what could be done about it. Mr. Resner’s father found that Mr. Valenti actually secured a contract with Third Story Music of Los Angeles. They went into immediate negotiations, and though they did recover all the loss up until that date, there are still recordings out there that are credited to Mr. Valenti, or even sometimes a third party. The song was registered for copyright in 1962 by Mr. Rose, although Scottish poet Len Partridge in Edinburgh in the late 1950’s. Some folks even insist that Mr. Rose signed the song over to him in order to help him out, but there is no real evidence of this. Some folks also attribute the song to William "Bobby" Roberts, but again, there is no hard evidence to support this claim.

Until 1964, Mr. Rose had been working with different bands, most notably with The Big Three, a folk group which included Mama Cass Elliott and a guy named James “Jimmie” Hendricks. They had a following in New York’s Greenwich Village before Mr. Rose moved on to the west coast in 1964, where he performed with a group called The Driftwood Singers, based out of San Francisco. This was the move that landed him in front of Dino Valenti in the first place. Talk about coming full circle!.

These are The Leaves, plugging away at the song on some long forgotten TV show in 1966. 

This is Tim Rose from a TV appearance in 1966 doing the song he would put on his first album "Through Rose Colored Glasses" in 1967. That was the version which Keith Richards claims to have "lent" to Linda Keith, a friend, who then took it over to her friend's house and played it for Jimi Hendrix.

And here is Jimi Hendrix in all his glory, doing "Hey Joe" live sometime in 1968, about a year after first hearing the Tim Rose version of the song from Keith Richards friend. It became his first solo recording, and launched his career.

Sweethearts of the Rodeo - 2011

One of the best country groups to come out of the late 1980’s were the Sweethearts of the Rodeo, who take their name from the Gram Parson’s inspired album title “Sweetheart of the Rodeo” which was recorded when Gram was a member of The Byrds in the late 1960’s. Parsons left The Byrds in England en-route to a segregated concert in South Africa. When he found that out; from Keith Richards; he quit the band and spent the next few years living with him. The Rolling Stones and The Beatles were among the first of the rock bands who refused to play there. That’s the story behind the name of this band.

Sisters Janice and Kristin Oliver formed the band when they were in their teens, playing under the name The Oliver Sisters, and performing bluegrass music in their native California. Emmylou Harris is credited with “discovering” the two sisters and getting them work with other artists. Through Emmylou Harris, Janis Oliver met Vince Gill in 1977 when he was 19 years old and she was 23. Vince Gill was a member of The Pure Prairie League at the time. They were married and later divorced. Kristine married Leonard Arnold of the band Blue Steel and soon after the turn of the decade stopped touring while raising kids.

My favorite album of theirs was the least popular one at the time of its release, but has become somewhat of a legend in country circles. “Buffalo Zone” was the next to the last album they recorded for Columbia in 1990. Although none of the songs became smash hits, the album is still held in high regard. Of the 4 albums and twelve singles they recorded for Columbia between 1986 and 1991, they reached the Top Ten on the Country charts seven times in the 1980s. Their two landmark singles peaked at No. 4 on the charts. Those recordings were "Midnight Girl/Sunset Town" and "Chains of Gold," which were both recorded in 1987. At the time they had 7 singles in the Top Ten on the Hot Country Songs charts.

In the mid 1990’s they began to tour and record again for Sugar Hill Records, releasing 2 albums before they seemingly disappeared for a while. They owned a clothing store in Franklin, Tennessee called “Gill and Arnold.”

This video was taken around 1992 and contains some of their best work, including the song “Como Se Dice” which has become a signature song they still perform today. It’s the 5^th song in the video and well worth the wait if you have never heard it. The story revolves around a woman who roams the barrios asking  how to say I love you in Spanish. The title actually translates as “How Do You Say” in English, with the phrase “I Love You” in parenthesis. Her lover has been talking Spanish in his sleep and she is desperate to find out what he has been saying, suggesting that he has taken a lover.

Here is a list of the 6 songs in this video;

1) Wake Me Up

2) Blue to the Bone

3) Uphill All The Way

4) This Heart

5) Como Se Dice (I Love You)

6) Satisfy You

Beneath the video there is some French writing which compares the sisters to the Everly Brothers, due mostly to their tightly knit high harmonies, often referred to as a “high lonesome sound.” Apparently this video is from a television show called Country Box. The last line seems to lament, or perhaps deny, the death of true country music, citing the two women as staving off the death of true country music. At least that’s what I think it says.

I could use the translator option, but that takes all the fun out of guessing. Plus, if I’m wrong, I get more e-mails. Everyone loves to tell you when you’re wrong about something. But no matter what, I’m right about these two truly talented women and their contribution in keeping country music alive.

Townes Van Zandt

It’s hard to know where to start with Townes Van Zandt. His haunting ballads have been recorded by so many artists. I suppose “Pancho and Lefty” is the most well-known of his works, but this early recording of Mr. Van Zandt performing “Waiting Round to Die” in the movie “Heartworn Highways” is probably my favorite. It reeks of desperation and sorrow.

Performers such as Mr. Van Zandt are seldom fully appreciated until after their death. That is the case with Mr. Van Zandt. He wrote some of the best songs; ones which other artists made into hits; but somehow never had a hit record himself. Sometimes it just works out like that. 

He moved to New York in the 1990’s, where his music influenced artists such as Bob Dylan, Emmylou Harris, Robert Plant, Gillian Welch, Norah Jones, Steve Earle and even Keith Richards. He passed away there on January 1, 1997 due to complications from years of substance abuse. In some ways, you might say, he was just waiting round to die.

“Waiting Round to Die”

Sometimes I don't know where

This dirty road is taking me

 Sometimes I can't even see the reason why

 I guess I keep a-gamblin'

 Lots of booze and lots of ramblin'

 It's easier than just waitin' around to die

One time, friends, I had a ma

I even had a pa

He beat her with a belt once 'cause she cried

She told him to take care of me

Headed down to Tennessee

It's easier than just waitin' around to die

I came of age and I found a girl

In a Tuscaloosa bar

She cleaned me out and hit in on the sly

I tried to kill the pain, bought some wine

And hopped a train

Seemed easier than just waitin' around to die

A friend said he knew

Where some easy money was

We robbed a man, and brother did we fly

The posse caught up with me

And drug me back to Muskogee

It's two long years I've been waitin' around to die

Now I'm out of prison

I got me a friend at last

He don't drink or steal or cheat or lie

His name's Codeine

He's the nicest thing I've seen

Together we're gonna wait around and die

Together we're gonna wait around and die

Keith Richards and Norah Jones - "Love Hurts" (2004)

Norah Jones and Keith Richards are two of the most mercurial musicians of our time. From Ms. Jones forays with Little Willies, to her own stellar career, encompassing everything from folk to rock and even jazz, she has it all. She sings, plays and writes; making her a true triple threat.

And, when coupled with the equally mercurial Keith Richards, who plays jazz, blues and sizzling rock and roll; even when not driving the Rolling Stones; you can get some very impressive results.

Take this 2004 performance of "Love Hurts" by the duo at a memorial concert for Gram Parsons, who is often associated with this song although he did not write it. But ever since his passing, Emmylou Harris has uses it in her closing set as a tribute to this great artist.

Parsons and Richards became  friends when Richards convinced Parsons to quit the Byrds, who were about to tour South Africa, playing to segregated audiences. So,  Parsons quit the Byrds and went to live with Richards for a while after that, with the two becoming life-long friends. He even played a large part in creating the solo on “Wild Horses” from the “Sticky Fingers” album.

Here, Ms. Jones and Mr. Richards pay tribute to Mr. Parson’s with this song,  written by Felice and Boudleaux  Bryant in 1960 and first recorded by the Everly Brothers. Gram Parsons did it on his  posthumously released album "Grievous Angel", which was released sometime after 1973.    

It has become a staple in the finale of many concerts, often used to lull the audience back down from the frenzy of the evening’s entertainment. In the hands of these two fine artists however, it becomes a tribute to a great friend and well-loved songwriter. Through his music, and the people who play it, Mr. Parsons will live forever.

Chuck Berry in London - 1972

 

This is a very unusual and clear clip of Chuck Berry in London sometime in 1972. I believe it was filmed for the BBC special. It’s surprisingly crisp sound is what attracted me to this video. Up until Keith Richards made “Hail, Hail, Rock and Rock” in 1987, Chuck Berry usually played with local pickup bands, often not even bothering to rehearse before the show. Sometimes he never met the other musicians until about 5 minutes before show time. When Bruce Springsteen’s band was selected to back him in New Jersey in the early 1970’s, he met Mr. Berry moments before the concert was set to begin, asking him “What kind of music are we going to play?” It was a stupid question, and Mr. Berry answered, “Chuck Berry music, boy!” Springsteen tells that story in the 1987 film.

While this type of arrangement was quick and easy for Mr. Berry, it was hard on the audience, as the band was not always in tune with the star. But, somehow, he always managed to play just loud enough to cover the bands mistakes.

If you have seen “Hail, Hail Rock and Roll”, then you are familiar with the story of how Keith Richards persuaded Chuck Berry to make the film. To accomplish that goal he would have to re-unite Mr. Berry with his old piano player, Johnnie Johnson. Mr. Johnson had founded the band that became known as The Chuck Berry Band, and ultimately just Chuck Berry.

Most of Chuck’s songs were really written on the piano by Johnnie Johnson, and then transposed to guitar by Mr. Berry. In the film “Hail, Hail Rock and Roll”, Keith Richards does an excellent job of explaining the difference in writing songs on guitar and piano, crediting Mr. Johnson with being the spark which gave full bloom to the sound of rock and roll. In other words, without Johnnie, there may not have been a Chuck Berry as we have come to know him.

Johnnie Johnson filed suit in 2001 for back royalties on songs which were co-written by him with Mr. Berry. A very gentle and well-loved man, he passed away in 2005. But for the efforts of Keith Richards, his role in Rock and Roll history would not have been secured.

This second clip is taken from the film “Hail, Hail Rock and Roll”, and unlike the clip above, this one features Johnnie Johnson on piano, where he belongs. You’ll also recognize several other musicians, including Jesse Ed Davis and Keith Richards. Play it loud and enjoy the music!

"The Perfect High" by Shel Silverstein

There once was a boy named Gimmesome Roy. He was nothing like me or you.
’Cause laying back and getting high was all he cared to do.
As a kid, he sat in the cellar, sniffing airplane glue.
And then he smoked bananas –– which was then the thing to do.

He tried aspirin in Coca–Cola, breathed helium on the sly,
And his life was just one endless search to find that perfect high.
But grass just made him want to lay back and eat chocolate–chip pizza all night,
And the great things he wrote while he was stoned looked like shit in the morning light.

And speed just made him rap all day, reds just laid him back,
And Cocaine Rose was sweet to his nose, but the price nearly broke his back.
He tried PCP and THC, but they didn’t quite do the trick,
And poppers nearly blew his heart and mushrooms made him sick.

Acid made him see the light, but he couldn’t remember it long.
And hashish was just a little too weak, and smack was a lot too strong,
And Quaaludes made him stumble, and booze just made him cry,
Till he heard of a cat named Baba Fats who knew of the perfect high.

Now, Baba Fats was a hermit cat who lived up in Nepal,
High on a craggy mountaintop, up a sheer and icy wall.
"But hell," says Roy, "I’m a healthy boy, and I’ll crawl or climb or fly,
And I’ll find that guru who’ll give me the clue as to what’s the perfect high."

So out and off goes Gimmesome Roy to the land that knows no time,
Up a trail no man could conquer to a cliff no man could climb.
For fourteen years he tries that cliff, then back down again he slides
Then sits –– and cries –– and climbs again, pursuing the perfect high.

He’s grinding his teeth, he’s coughing blood, he’s aching and shaking and weak,
As starving and sore and bleeding and tore, he reaches the mountain peak.
And his eyes blink red like a snow–blind wolf, and he snarls the snarl of a rat,

As there in perfect repose and wearing no clothes –– sits the godlike Baba Fats.

"What’s happening, Fats?" says Roy with joy, "I’ve come to state my biz.
I hear you’re hip to the perfect trip. Please tell me what it is.
For you can see," says Roy to he, "that I’m about to die,
So for my last ride, Fats, how can I achieve the perfect high?"

"Well, dog my cats!" says Baba Fats. "Here’s one more burnt–out soul,
Who’s looking for some alchemist to turn his trip to gold.
But you won’t find it in no dealer’s stash, or on no druggist’s shelf.
Son, if you would seek the perfect high –– find it in yourself."

"Why, you jive motherfucker!" screamed Gimmesome Roy, "I’ve climbed through rain and sleet,
I’ve lost three fingers off my hands and four toes off my feet!
I’ve braved the lair of the polar bear and tasted the maggot’s kiss.
Now, you tell me the high is in myself. What kind of shit is this?

My ears ’fore they froze off," says Roy, "had heard all kind of crap,
But I didn’t climb for fourteen years to listen to that sophomore rap.
And I didn’t crawl up here to hear that the high is on the natch,
So you tell me where the real stuff is or I’ll kill your guru ass!"

"Ok, OK," says Baba Fats, "you’re forcing it out of me.
There is a land beyond the sun that’s known as Zaboli.
A wretched land of stone and sand where snakes and buzzards scream,
And in this devil’s garden blooms the mystic Tzu–Tzu tree.

And every ten years it blooms one flower as white as the Key West sky,
And he who eats of the Tzu–Tzu flower will know the perfect high.
For the rush comes on like a tidal wave and it hits like the blazing sun,
And the high, it lasts a lifetime and the down don’t ever come.

But the Zaboli land is ruled by a giant who stands twelve cubits high.
With eyes of red in his hundred heads, he waits for the passers–by.
And you must slay the red–eyed giant, and swim the River of Slime,
Where the mucous beasts, they wait to feast on those who journey by.

And if you survive the giant and the beasts and swim that slimy sea,
There’s a blood–drinking witch who sharpens her teeth as she guards that Tzu–Tzu tree."
"To hell with your witches and giants," laughs Roy. "To hell with the beasts of the sea.
As long as the Tzu–Tzu flower blooms, some hope still blooms for me."

And with tears of joy in his snow–blind eye, Roy hands the guru a five,

Then back down the icy mountain he crawls, pursuing that perfect high.

"Well, that is that," says Baba Fats, sitting back down on his stone,

facing another thousand years of talking to God alone.

"It seems, Lord", says Fats, "it’s always the same, old men or bright–eyed youth,

It’s always easier to sell them some shit than it is to give them the truth."

Keith Richards - Mailer Award Winner

"This is one for the books, if you get my drift - you hacks," the 67-year-old Rolling Stones guitarist joked Tuesday as he accepted the Mailer Prize for Distinguished Biography, a prize earned by his million-selling memoir "Life." Wearing tinted glasses, a long scarf around his neck and a wide red band around his sprawl of salt and pepper hair, Richards stood before hundreds dressed in suits and gowns at the Mandarin Hotel in Manhattan and loosened up as if presiding over a celebrity roast. He chuckled. He swore. He reasoned that since he had been writing - songs - since age 16, his appearance at a literary event was not a total "intrusion."

Read the entire article here;

http://www.billboard.biz/bbbiz/industry/publishing/keith-richards-life-wins-mailer-book-prize-1005490752.story

It always pleases me when I have read a book which goes on to win an award. It makes me feel as if I really do know a good book when I read one. Keith Richards, who just last week won the Mailer Award for his autobiography "Life", is a good example. I reviewed that book last January, a few months after its release. It was a very credible work. So, I was not too surprised to see that it garnered the Mailer Award last week in New York City. The Mailer Award, is of course, named after Norman Mailer, the iconic news columnist, and author, who passed away in 2007. I grew up on his columns in the New York Daily News. He was the workingman's writer, a journalist who saw more of the underbelly of New York City than almost anyone else in the 1960's.

In case you missed that review, and to give myself a day of rest, I am re-posting it. If you still haven't read this book, give it a whirl. It's well worth the time.

"Life" by Keith Richards

One of the hardest, and most enjoyable aspects of reviewing this book by Keith Richards, is the enormous amount of information he has to impart to the reader. There are, for instance, the names of many musicians who influenced Mr. Richards, but who are totally unrecognizable to those of us on this side of the Atlantic. Take "Wizz" Jones as an example. Mr. Richards cites him as an early influence. Mr. Jones was a British folk singer along the lines of our own Bob Dylan, and he used to drop by the toilet at the art school where all the kids would hang out and play guitar. This was in Chapter 2, so I had to stop reading and get acquainted with "Wizz" Jones. And thanks to our good friend You Tube, it's not that hard to do. Here is Mr. Wizz Jones, on BBC in 1960;

http://www.youtube.com/watch?v=GDsQSOf6_ow

Don't take me wrong, I'm not complaining. This is just the type of book I love! One that will stretch my knowledge of the music I love and where it came from. And this book starts giving on page one! Then it keeps on delivering until the very last page.

I have been a Keith Richards fan since I first heard him singing "Connection" with the Stones in 1966. And when he wrote and sang "You've Got the Silver" on "Let It Bleed" in 1969, I was hooked on Keith Richards for life. The man is a human musical note. He sees most things musically, lyrically. That he is able to then translate these visions and craft them into music that rocks the entire world is amazing. That he has done it for almost 50 years is astounding!

I won't bore you with a review of this book and a rehashing of some of the wilder exploits. It would only cheapen this incredible work by Mr. Richards. Let's just say that there is enough sex, drugs and rock and roll in the book to keep the more voyeuristic amongst us very happy. And to that end, the book delivers very well.

But for those looking to read a more serious side of the man known to millions as "Keef", this book is THE place to be. The author explores every aspect of his life, from growing up in post war England, which was still on rations through 1954, his days at art college, an examination of how the British primary schools worked at the time, and everything else you will need to know in order to measure the man.

Musically, the book is a treasure. Mr. Richards explains his method of guitar playing and song writing, right down to the five string open G tuning which he uses on many of The Rolling Stones records, as well as in concert. This portion of the book was so inspiring that I immediatley retuned one of my guitars so that I could check it out myself. I'll keep you posted on that one!

Exploring his sometimes volatile relationship with Mick Jagger is also a very interesting part of the book. How fame affects different people is fascinating, and even more so when told by someone who has lived it.

From the early Bohemian days of the Rolling Stones, founded by Ian Stewart, to the chaotic days of Brian Jones death, and then on through the politics and drug scandals of the late 1990's and beyond, this book is a ticking bomb. Each page explodes with information about the music business, touring, and the petty differences that can plague old friendships on the road.

Many people will be interested in the history of Keith Richards drug use, and on this subject, once again, he dishes up the full story. He does not, as I have read in other reviews, glorify drug use at all, rather he just tells it the way it is. You make the choices for yourself. This whole topic of hard drug use is an education in itself, and written honestly by someone who has been through it all, several times.

The legal problems of the 1970's, when Mr. Richards was under indictment in Canada for trafficking, is of special interest. It is the typical story of a Government catching a tiger by the tail and not knowing what to do with it. And the story of the blind girl, who helps to influence the decision of the judge, will really let you in on who Keith Richards is beneath the surface. I'm no spoiler, so you'll have to read the book if you want to hear that one.

This book holds nothing back. Mr. Richards is completely candid about his family life and the book contains just enough photos to let you peek inside of that world. When dealing with the loss of his infant son Tara, in 1979, he moved me to tears, no exaggeration, and I'm a pretty hard case when it comes to that sort of thing.

His stories are, at times, interspersed with an account of the same event, told from someone else's point of view. This lends credibility to many of the more amazing stories. And there are many!

There are a couple of extra special portions of the book for me. One is the description of the making of the film "Hail, Hail, Rock and Roll", made in 1988. Keith Richards had always been a big fan of Chuck Berry's, but felt that Chuck had been touring for so long, using only "pick up" bands in each town, that he had lost his edge. So he put together a group to back Chuck Berry, with Jesse Ed Davis on guitar, Bobby Keys on sax, and a host of others, including Chuck Berry's original piano player, Johnnie Johnson. Actually, it had been Mr. Johnson's band until Chuck Berry took it over. That film has always been very special to me and it was nice to hear how it all came together.

But the most impressive thing to me was the phone call from Hoagy Carmichael, the man who wrote "Stardust" and a million other songs back in the 1930's through the 50's. The man who was friends with Bix Biederbicke. The man who co-starred with Humphrey Bogart and Lauren Bacall in "To Have and Have Not." He called to say that he had heard a version of Keith doing "The Nearness of You", which had been written in the 1940's. It was a slow song, but Keith had done a tape of it for his lawyer, and had stepped it up to a barrelhouse piano number. He was knocked for a loop when Mr. Carmichael told him that this was the way he originally had envisioned the song.This was only 6 months before Hoagy Carmichael died, and Mr. Richards relishes that call to this very day.

I could go on and on about this book. But it would be better if you'd just read it. This is the side of Keith Richards that so many of his fans have embraced over the years. It is also a side of him that many do not know. Great book.

"Life" by Keith Richards

One of the hardest, and most enjoyable aspects of reviewing this book by Keith Richards, is the enormous amount of information he has to impart to the reader. There are, for instance, the names of many musicians who influenced Mr. Richards, but who are totally unrecognizable to those of us on this side of the Atlantic. Take "Wizz" Jones as an example. Mr. Richards cites him as an early influence. Mr. Jones was a British folk singer along the lines of our own Bob Dylan, and he used to drop by the toilet at the art school where all the kids would hang out and play guitar. This was in Chapter 2, so I had to stop reading and get acquainted with "Wizz" Jones. And thanks to our good friend You Tube, it's not that hard to do. Here is Mr. Wizz Jones, on BBC in 1960;

http://www.youtube.com/watch?v=GDsQSOf6_ow

Don't take me wrong, I'm not complaining. This is just the type of book I love! One that will stretch my knowledge of the music I love and where it came from. And this book starts giving on page one! Then it keeps on delivering until the very last page.

I have been a Keith Richards fan since I first heard him singing "Connection" with the Stones in 1966. And when he wrote and sang "You've Got the Silver" on "Let It Bleed" in 1969, I was hooked on Keith Richards for life. The man is a human musical note. He sees most things musically, lyrically. That he is able to then translate these visions and craft them into music that rocks the entire world is amazing. That he has done it for almost 50 years is astounding!

I won't bore you with a review of this book and a rehashing of some of the wilder exploits. It would only cheapen this incredible work by Mr. Richards. Let's just say that there is enough sex, drugs and rock and roll in the book to keep the more voyeuristic amongst us very happy. And to that end, the book delivers very well.

But for those looking to read a more serious side of the man known to millions as "Keef", this book is THE place to be. The author explores every aspect of his life, from growing up in post war England, which was still on rations through 1954, his days at art college, an examination of how the British primary schools worked at the time, and everything else you will need to know in order to measure the man.

Musically, the book is a treasure. Mr. Richards explains his method of guitar playing and song writing, right down to the five string open G tuning which he uses on many of The Rolling Stones records, as well as in concert. This portion of the book was so inspiring that I immediatley retuned one of my guitars so that I could check it out myself. I'll keep you posted on that one!

Exploring his sometimes volatile relationship with Mick Jagger is also a very interesting part of the book. How fame affects different people is fascinating, and even more so when told by someone who has lived it.

From the early Bohemian days of the Rolling Stones, founded by Ian Stewart, to the chaotic days of Brian Jones death, and then on through the politics and drug scandals of the late 1990's and beyond, this book is a ticking bomb. Each page explodes with information about the music business, touring, and the petty differences that can plague old friendships on the road.

Many people will be interested in the history of Keith Richards drug use, and on this subject, once again, he dishes up the full story. He does not, as I have read in other reviews, glorify drug use at all, rather he just tells it the way it is. You make the choices for yourself. This whole topic of hard drug use is an education in itself, and written honestly by someone who has been through it all, several times.

The legal problems of the 1970's, when Mr. Richards was under indictment in Canada for trafficking, is of special interest. It is the typical story of a Government catching a tiger by the tail and not knowing what to do with it. And the story of the blind girl, who helps to influence the decision of the judge, will really let you in on who Keith Richards is beneath the surface. I'm no spoiler, so you'll have to read the book if you want to hear that one.

This book holds nothing back. Mr. Richards is completely candid about his family life and the book contains just enough photos to let you peek inside of that world. When dealing with the loss of his infant son Tara, in 1979, he moved me to tears, no exaggeration, and I'm a pretty hard case when it comes to that sort of thing.

His stories are, at times, interspersed with an account of the same event, told from someone else's point of view. This lends credibility to many of the more amazing stories. And there are many!

There are a couple of extra special portions of the book for me. One is the description of the making of the film "Hail, Hail, Rock and Roll", made in 1988. Keith Richards had always been a big fan of Chuck Berry's, but felt that Chuck had been touring for so long, using only "pick up" bands in each town, that he had lost his edge. So he put together a group to back Chuck Berry, with Jesse Ed Davis on guitar, Bobby Keys on sax, and a host of others, including Chuck Berry's original piano player, Johnnie Johnson. Actually, it had been Mr. Johnson's band until Chuck Berry took it over. That film has always been very special to me and it was nice to hear how it all came together.

But the most impressive thing to me was the phone call from Hoagy Carmichael, the man who wrote "Stardust" and a million other songs back in the 1930's through the 50's. The man who was friends with Bix Biederbicke. The man who co-starred with Humphrey Bogart and Lauren Bacall in "To Have and Have Not." He called to say that he had heard a version of Keith doing "The Nearness of You", which had been written in the 1940's. It was a slow song, but Keith had done a tape of it for his lawyer, and had stepped it up to a barrelhouse piano number. He was knocked for a loop when Mr. Carmichael told him that this was the way he originally had envisioned the song.This was only 6 months before Hoagy Carmichael died, and Mr. Richards relishes that call to this very day.

I could go on and on about this book. But it would be better if you'd just read it. This is the side of Keith Richards that so many of his fans have embraced over the years. It is also a side of him that many do not know. Great book.

Under Their Thumb by Bill German

Usually I won't review a book on Rock and Roll, but this one is a gem. Being a Stones fan probably has alot to do with it! I do read celebrity autobiographies but consider them a kind of selfish delight. Ok- I'm a literary snob- but this book rocks!

For those who don't know of Bill German, a little background- he ran the Stones "fanzine" Beggars Banquet for 17 years - started it in his bedroom in Brooklyn, NY. (Another reason I like this book) He was a student at South Shore High in Canarsie and began the publication on a school mimeograph machine.

From there he started handing the thing out to whoever would take one- staked out the hotels where the Stones were staying- got a copy in Keith Richards hands and eventually became embedded with the band- making all the tours fron 1978 to 1995. Along the way he became friends with the Stones and this book offers a rare and unusual look at the concert promotion game as well as inside band politics.

Great insights into the Stones family and personal life- the emphasis here is not only on the drugs- this is about the business end of the show- and also the music. If you want the kiss all tell all stuff read Ron Woods' autobiography "Woody." A great read in itself- but this one goes beyond the sensationalism.

I could sample you some of the great stuff in this book- but if you are a Stones fan- you are going to want to read this for yourself. It is a self made sucess story that could only come out of Brooklyn. A delightful read.