"Fowl Owl on the Prowl" - Travis and Boomer (1967)

This is one of my favorite Halloween songs. The film “In the Heat of the Night” actually takes place just before Halloween- look at the calendars on the wall of the diner and at the Police Station. That’s why the chief wears a jacket in some of the scenes; it’s late autumn.

This song still has lots of fans- I just received this comment the other day, showing that the song is still very much appreciated.

MandocrucianOctober 27, 2015 at 11:27 AM

“The scene was filmed to the music of "Little Red Riding Hood" by Sam The Sham & The Pharoahs. Somehow the movie couldn't get synchronization rights for the song (for some stupid reason, the song publisher would only OK using the melody, not the lyrics), so Quincy Jones whipped up a substitute with the same groove and lyric idea. Sounds like Sam The Sham meets Buck Owens & Don Rich.”

Here is the original post which I have re-posted several times over the past few years.

This is one of my favorite scenes in the movie “In the Heat of the Night” which was released in 1968 and starred Sidney Poitier, Rod Steiger and Lee Grant along with a host of other character actors. The film won an Academy Award and has been a favorite of mine since its release. But this scene, and the accompanying song, “Foul Owl on the Prowl” has stuck with me since. It’s a satirical country song, with the music written by none other than Quincy Jones, and the lyrics by Alan and Marilyn Bergman, a husband and wife team who went on to pen some of the best theme songs on TV sitcoms.

In this scene, Ralph, the night cook at the diner in Sparta, Mississippi where the story takes place, pries open the jukebox to avoid paying a nickel to hear his favorite song. His almost comical role in this scene belies the true nature of the man, as the film bears out.

The song is almost inaudible in certain portions of the scene, and it would be about 20 years before I would hear the entire lyrics to the song, but it’s worth a listen. The lyrics concern a man, described as an owl, who is on the prowl for his next victim in the dark of night. Using various birds and rhymes, Mr. and Mrs. Bergman crafted a very clever lyric to go along with Mr. Jones’ music.

But the real surprise to me has always been that Quincy Jones, the contemporary genius of jazz, was able to write this melody, which is so far afield from his usual genre. It serves to underscore the sheer musical talent inherent in the man. You either have it, or you don’t. Clearly, Mr. Jones has it.

If you have never heard the full recorded version by Boomer and Travis, then here is your chance. Just hit the link below and listen to Boomer and Travis perform this quirky little number which has quite a cult following; including me. The lyrics are printed below the link.

http://www.youtube.com/watch?v=7HqIEtAhE7I

Cindy Walker

She wrote “You Don’t Know Me” in 1955 with Eddy Arnold, but most people don’t even recognize her name. At least not in the way that they do Ray Charles, who had the smash hit with it in 1962; or Kitty Wells, who is often named as the First Lady of Country Music; frequently alongside of Mother Maybelle Carter. But, while Kitty Wells was a prominent country singer; and Maybelle was the Mother of gospel/bluegrass; this particular lady wrote; and recorded; some of country music’s most seminal works. Her name was Cindy Walker.

Born in Mart, Texas in 1918 she began pitching songs to the likes of Bob Wills and other Western-Swing artists when she was about 22 years old. And she never stopped, spanning 4 decades in the business, recording one hit song after another.

From her blues like “I Hear You Talking”; which is reminiscent of Bessie Smith; to the more country type ballads, Ms. Walker could sing and swing with the best of them. Her material cut across all lines of demarcation. Bob Wills recorded her songs, and so did Ray Charles, who had an abiding love for Country Music in general.

Here are just a few of the hundreds of songs Ms. Walker wrote over the tears; most recorded by her at first, before becoming monster hits for other artists;

"Bubbles in My Beer"- George Jones and Willie Nelson

"Take Me in Your Arms & Hold Me”- Eddy Arnold had the hit with this song he co-wrote with Ms. Walker

"You Don't Know Me"- Ray Charles had a hit with it in 1962. It has been covered by hundreds of other artists.

"Sugar Moon"- Bob Wills co-wrote this with Ms. Walker and had a hit with it, as did k.d.lang and Willie Nelson.

"I Don't Care"- Webb Pierce co-wrote it and had a hit with it; as did Ricky Skaggs in the 1980’s.

"Cherokee Maiden"- Bob Wills, Merle Haggard and Asleep at the Wheel

“The Warm Red Wine"- George Jones and Willie Nelson both had hits with this one.

Before her death in 2006 she was inducted into the Country Music Hall of Fame, and she accepted it in the unique and humble way in which she lived her entire life.

Here is Ms. Walker at that Induction Ceremony;

http://www.youtube.com/watch?v=9KfU3FGZXKU

And here is Bob Wills performing "I Hear You Talking" live from an old western movie.

"The Thing" - Phil Harris (1950)

This goes along with so many of the songs I listened to as a kid. My parents listened to everything from big band to classical recordings, along with a bunch of what I suppose was called “pop” music back then. And then there were some of the novelty records, which, even if I didn't understand them fully at the age of 4, were funny to me. Records such as “She Had to Go and Lose It at the Astor” by Harry Brown are a perfect example. I didn’t have to know exactly what she might have “lost” at the Astor to know the record was funny.

Phil Harris may sound familiar to your ear, even if you have never deliberately sought out one of his many recordings; that’s because he was the voice behind Baloo the Bear in the Disney film “The Jungle Book.” His voice is unmistakable, and even if you did miss it the first time around when we were kids, then I know you have listened to it with your own, or possibly even your grand-kids since then.

“The Thing" was composed by Charles Randolph Grean, who wrote several of these novelty songs in the late 40’s and early 50’s. This is one of the most successful, having reached Number 1 on the Billboard Charts in November of 1950. The song was actually recorded on October 13^th, which shows how quickly the record got played and became a hit. It remained on the charts for 14 weeks.

Arthur Godfrey, Danny Kaye, Ray Charles, Teresa Brewer and Les Welch are amonst those who have covered this song, but Phil Harris was the first to record it and release it. Arthur Godfrey and Danny Kaye both recorded their versions within a few weeks of Mr. Harris, but Phil Harris’ timing was spot on, and so he had the hit with the song. Ray Charles didn’t get around to recording it himself until July of 1963, which is an early example of the songs durability. It has even been released recently as a rap song!

Although Mr. Grean never tells us just what is in the mysterious box he finds on the beach, we all have a pretty good idea of what it is, pertaining to the verse in which he uses it. If you have never heard this record, give it a whirl. Pops and all, it’s worth a spin. (That’s a pun.) Here are the lyrics; and below them is the actual recorded version of the song which I used to listen to back around 1957 when I was 3 years old.

"The Thing" by Charles Grean

I saw a great big wooden box a-floatin’ in the bay

I pulled it in and opened it up and much to my surprise

Ooh, I discovered a boom-boom-boom, right before my eyes

Oh, I discovered a boom-boom-boom, right before my eyes

I picked it up and ran to town as happy as a king

I took it to a guy I knew who’d buy most any thing

But this is what he hollered at me as I walked in his shop

Oh, get outta here with that boom-boom-boom, before I call a cop

Oh, get outta here with that boom-boom-boom before I call a cop

I turned around and got right out, a-runnin’ for my life

And then I took it home with me to give it to my wife

But this is what she hollered at me as I walked in the door

Oh, get outta here with that boom-boom-boom, and don’t come back no more

Oh, get outta here with that boom-boom-boom, and don’t come back no more

I wandered all around the town until I chanced to meet

A hobo who was looking for a hand-out on the street

He said he’d take most any old thing, he was a desperate man

But when I showed him the boom-boom-boom, he turned around and ran

Oh, when I showed him the boom-boom-boom, he turned around and ran

I wandered on for many years, a victim of my fate

Until one day I came upon St. Peter at the gate

And when I tried to take it inside, he told me where to go

Get outta here with that boom-boom-boom and take it down below

Oh, get outta here with that boom-boom-boom and take it down below

The moral of this story is if you’re out on the beach

And you should see a great big box and it’s within your reach

Don’t ever stop and open it up, that’s my advice to you

‘Cause you’ll never get rid of the boom-boom-boom, no matter what you do

Oh, you’ll never get rid of the boom-boom-boom, no matter what you do.

"Foul Owl On the Prowl" - Quincy Jones (1968)

This is one of my favorite scenes in the movie “In the Heat of the Night” which was released in 1968 and starred Sidney Poitier, Rod Steiger and Lee Grant along with a host of other character actors. The film won an Academy Award and has been a favorite of mine since its release. But this scene, and the accompanying song, “Foul Owl on the Prowl” has stuck with me since. It’s a satirical country song, with the music written by none other than Quincy Jones, and the lyrics by Alan and Marilyn Bergman, a husband and wife team who went on to pen some of the best theme songs on TV sitcoms.

In this scene, Ralph, the night cook at the diner in Sparta, Mississippi where the story takes place, pries open the jukebox to avoid paying a nickel to hear his favorite song. His almost comical role in this scene belies the true nature of the man, as the film bears out.

The song is almost inaudible in certain portions of the scene, and it would be about 20 years before I would hear the entire lyrics to the song, but it’s worth a listen. The lyrics concern a man, described as an owl, who is on the prowl for his next victim in the dark of night. Using various birds and rhymes, Mr. and Mrs. Bergman crafted a very clever lyric to go along with Mr. Jones’ music.

But the real surprise to me has always been that Quincy Jones, the contemporary genius of jazz, was able to write this melody, which is so far afield from his usual genre. It serves to underscore the sheer musical talent inherent in the man. You either have it, or you don’t. Clearly, Mr. Jones has it.

If you have never heard the full recorded version by Boomer and Travis, then here is your chance. Just hit the link below and listen to Boomer and Travis perform this quirky little number which has quite a cult following; including me. The lyrics are printed below the link.

http://www.youtube.com/watch?v=7HqIEtAhE7I

"Foul Owl On The Prowl"

(Quincy Jones – Alan and Marilyn Bergman)

There's a foul owl on the prowl tonight.

 Hey, little lark, get outta the dark,

 Foul owl on the prowl.

 Hey little jay, stay out of his way,

 Foul owl on the prowl.

 You just might be the quail he'll tail,

 Foul owl on the prowl.

 You just might be the swallow he'll follow,

 Foul owl on the prowl.

 If you hear him hoot, scoot,

 If you pass his tree, flee,

 If you catch his eye, fly,

 Don't wait to say goodbye.

 He's got a yen for a purty little hen,

 Foul owl on the prowl.

 He's hungry for a chick, so get home quick,

 Foul owl on the prowl.

 If you hear him hoot, scoot,

 If you pass his tree, flee,

 If you catch his eye, fly,

 Don't wait to say goodbye.

 He's got a yen for a purty little hen,

 Foul owl on the prowl.

 He's hungry for a chick, so get home quick,

 Foul owl on the prowl.

 Foul owl on the prowl.

 Foul owl on the prowl.

 Foul owl on the prowl.

 Foul owl on the prowl.

 Foul owl on the prowl.

"Let It Be" - The Beatles (1970)

On January 31, 1969 the Beatles, along with organist Billy Preston, recorded the first complete version of “Let It Be.” Written by Paul McCartney in memory of his mother, who was named Mary, the song is about   her, and her death from cancer in 1956, when McCartney was about 14 years old. 

The song was composed after he had a dream about her; of which he said; "It was great to visit with her again. I felt very blessed to have that dream. So, that got me writing “Let It Be." He had interpreted the dream as being about the problems the Beatles were having as a group and he felt that his mother was telling him that, "It will be all right, just let it be."

The song was first recorded by The Beatles, but was first released by Aretha Franklin in January 1970; one year after it was recorded by the band; but still several months before it would be released on The Beatles own album. The reason for this was that the “Let It Be” album got hung up in legal disputes, resulting in its being released after the band’s last album, “Abbey Road”, which was recorded in the summer of 1969 and released in September. Many people still think that “Let It Be” is The Beatles final album, but that is incorrect.

This song has been recorded by hundreds of artists over the years; including a wonderful rendition by Ray Charles; but this version, with its very personal connection to the singer/songwriter will always ring the truest in my ears.

The song itself is about surrendering to a higher power; one that will help make things right; if you will only have faith and “Let It Be.” And, sometimes, in our lives, when we are confronted by the roiling waters of the rapids that beat all about us, that is all we can do. 

"The Last Sultan" by Robert Greenfield (2011)

Robert Greenfield has done a masterful job in this sprawling biography of both Ahmet Ertegun and Atlantic Records. As a matter of fact, the stories of the two are almost inseparable. Author Robert Greenfield, using the words of many of Mr. Ertegun’s friends and business associates has put all of the stories, and history, together in a most readable manner.

From his birth in 1923 to an aristocratic family in the last days of the Ottoman Empire, to ruling over his own fiefdom in the music industry, Ahmet Ertegun was a man who loved to tell stories and live life fully. He was also one of the most beloved men in an industry filled with back stabbers. A hard negotiator when necessary, he could also be enormously generous to the artists who signed contracts with him and his label, Atlantic Records.

Mr. Greenfield does a thorough job of acquainting the reader with Mr. Ertegun’s background and how he came to America. Then he begins the real story of how this man’s love for black music, at a time when Jim Crow still reigned supreme in the South, built an empire consisting of some of the greatest musical talent of the time.

Whether he was down South, or roaming the streets of New York, London, or Los Angeles, he was always in touch with the rhythm of the “scene”. He had a natural “ear” for what was good or bad. In short, he had his fingers on the pulse of a generation, and he used that insight to bring some of the greatest music to the forefront of our lives.

From his very beginnings in the record business, until the end of his storied career, he knew no color, unless it was green. A man of many contradictions he would buy his suits of the rack for a hundred bucks, and then have them re-cut by a hotel tailor for 50 bucks more. And, even with that strategy he managed to make the list of the 10 Best Dressed Men at least 5 years in a row.

From his relationships with Bobby Darin, Professor Longhair and Ray Charles; whom he lost to another label; to his “scouting” out new talent, the man was a visionary. He helped to propel Steve Stills, of Buffalo Springfield fame, to the top of the charts; and then was instrumental in putting together Crosby, Stills and Nash. His friendships with Phil Spector, Louis Armstrong, and Count Basie are well known, but in Mr. Greenfield’s hands these stories seem to come alive.

One of the most illuminating parts of this book concerned the Payola scandal, in which record companies were accused of paying disc jockeys to play their records. The federal government got involved and all the record companies were coerced into signing an agreement with the government barring this type of conduct in the future. Only two companies refused to sign. One was Chess, and the other was Atlantic. Their mutual attorney, Paul Marshall, argued correctly, that the original charges used to ruin Alan Freed’s career were baseless. The charges all hinged on the belief that all gratuities paid to the disc jockey belonged to the stations. Mr. Marshall countered that these “gifts” were merely “tips”, and if tipping was not in violation of the disc jockey’s terms of employment, then no crime had been committed.

He further argued that since the crime of payola, which stated that it “consisted of changing and affecting public taste”, did not apply when the disc jockey, or artist were already known. Since they were already recognized by the public, no change in taste could be affected. I found this section particularly interesting.

From race records to pop music, Ahmet Ertegun affected a whole generation of music lovers, leaving behind a whole world of music. His presence, at a time and place when social mores were changing, left us with years and years of music to enjoy. And that’s not a bad legacy at all. Filled with stories about almost every artist you can imagine, this book will leave you very satisfied, as well as a bit more knowledgeable about the music industry in general.

"You Don't Know Me" by Ray Charles Robinson, Jr.

This is an extraordinary book written by Ray Charles oldest son, Ray Charles Robinson, Jr. Coupled with his fathers wonderfully candid autobiography "Ray", this book completes the Ray Charles story. What began as his fathers story in "Ray", becomes the story of a family, sometimes riding high on the wave of celebrity, and at other times a victim of it's more cruel face.

The author re-iterates and re-examines the major points of his fathers life, from the death of his brother George, and the subsequent loss of his own sight. He also gives more insight into the early years on the road where his father formed the signature style that would come to define him for millions of fans worldwide.

The darker side of his fathers life is also lain bare here. The 20 year heroin addiction, covered so honestly in "Ray", is looked at from the point of view of the family, who were often the real victims of the elder Mr. Charles heroin habit. The result of this introspection is probably the closest insight you will ever gain to the life of, and effects upon a family, that stem from drug addiction.

In 1965, after using heroin for 2 decades, the elder Mr. Charles quits "cold turkey" after being charged with transporting heroin on his private plane coming back from Canada. Coming on the heels of his previous arrests for drug possession, he was facing 20 years in prison. He was in the hospital 4 months "getting clean."

Also examined more closely here than in "Ray", is the effect that Mr. Charles' numerous affairs and the children born of these unions, had on the Charles family. If there is any real hero in this book, it is surely Mrs. Charles, who was able to deal with all this insanity while raising a family in as normal way as possible.

The story of the authors mother, Della Beatrice Antwine, would be a great book all on it's own. Born in Richmond, Texas she was the lead tenor with Cecil Hawkins Gospel Group. When Ray Charles heard her voice singing lead on "Pray On, My Child", he was smitten. How he came to be with this woman is a story worthy of a mini-drama. It also serves to underline the unique singlemindedness with which Mr. Charles pursued all of his interests.

The stories told by Mr. Charles in his book "Ray" are all given creedence here as his son recounts, and in a sense, validates, the episodes of his father driving cars, motorcycles and even his own planes. You might say he enjoyed "flying blind."
A lifelong "mechanic" in his own right, you will delight in Mr. Robinson's tales of his father tinkering with everything from a bicycle, a tape recorder and even fixing the cowling on his own airplane after the mechanics said that it couldn't be done.

Mr. Robinson recounts the effects all of this had upon the family, and his parents subsequent divorce, in a respectful and honest narrative. He talks freely of his own drug addiction and recovery, his relationships with his half brothers and sisters, and how he has come to terms with his tumultous legacy as the namesake of one of the world's greatest performers. This book is a gift, given to the reader, by the only person who could have written it.