Hometown Skiffle (1928)

We're all familar with the 1956 recording of "Rock Island Line" by Lonnie Donnegan and how that became the hit record which launched a thousand bands in Britain, and even crossed the Atlantic Ocean to become a legendary recording. I have the 45 RPM, though I doubt it is still playable. I picked it up in the "oldies" rack at Crawfords on Kings Highway in the late 1960's.

But the history of that song goes way back before Lonnie Donnegan recorded it. Donnegan, who was really named Tony, was a guitar/banjo player with Chris Barber's Jazz Band. Chris Barber was a trombonist who originally played with Ken Coyler's band. Coyler's name comes up frequently when reading about all the later British bands and the influence of skiffle on what became known as  the "British sound".

Tony Donnegan changed his name to Lonnie in honor of Lonnie Johnson, one of his jazz heroes. But the history of "Rock Island Line" really goes back to a 1928 American 78 RPM recording called "Hometown Skiffle" featuring Blind Lemon Jefferson, Blind Blake, Will Ezell, Charlie Spand, The Hokum Boys and Papa Charles Jackson. You can find out more about each of these guys on Wikipedia.

The record was a two sided affair, so you had to turn it over to hear the whole song. It was recorded on Paramount Records and labeled as a "Race Recording". In essence, this record spawned a movement in Britain 30 years later which influenced the late 1950's sound and set the whole world rocking.

Here is another link to the original release.   

https://youtu.be/5XwzQhf801U?si=XJYgAcwBB8b21c0l

"My Ding a Ling" (Dave Bartholomew and Chuck Berry)

Been listening to Chuck Berry, and reading a very good biography about him. Very well researched. But Chuck's auto biography is much more fun.

Funny story about him and Pink Floyd. In 1972 the promoter on the English tour at the Lanchester Arts Festival in Coventry told Berry he could only play one more song because the fans outside were waiting for the next show, which was Pink Floyd. Chuck said okay, and then took 11 minutes to create his version of the song "My Ding a Ling" on stage. Dave Bartholomew had a minor hit with his own version of the song in 1952.

When Chuck's version hit #1 Bartholomew tried to sue him. Berry told him, "When you pull YOUR  pants down; that's YOUR Ding a Ling. When I pull MY pants down, that's "MY Ding a Ling." Bartholomew dropped the suit.

The song actually goes back to 1878 and was written by a songwriter/publisher in Philadelphia named Joseph Eastburn Winner/ aka R.A. Winner. He used to keep his office window open. It was above Bartholomew's father's barber shop. He would listen to the sounds coming from the street for inspiration. The kids were singing a very mild version of a song, based on the melody to "Little Brown Jug", the old drinking song.  So it was really one of those street rhymes which all kids learn.

They are similar, but Bartholomew did not write it. It may say so on the label of the 1952 recording, but that doesn't make it true. At any rate, titles are not subject to copyright. I believe he first recorded it in 1945,  but cannot find it at the moment.

Here is Chuck's 11 minute live improvisation from the concert in 1972. 

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.

"Jerry Lee Lewis" by Rick Bragg (2014)

The first time I ever saw Jerry Lee Lewis was in Virginia Beach. It was about 1980; just after the “Killer” had been stricken with bleeding ulcers. It was at a small venue; a place with tables. I had one only a few feet from the small stage. He did a short set with the band and then dismissed them from the stage and offered to take requests.

I was quick to call out for some Webb Pierce. Just as quickly he looked at me and said, “You’re too young to know Webb Pierce!” It was like an accusation on his part, but then he grew thoughtful; fingers roaming the keys of the piano; and said, “I can’t drink anymore, but I sure do love to sing about it!” Then he launched into a wonderful barrel house piano version of “There Stands the Glass.” When he was through playing it he looked at me and asked, “How’d I do, son?” I do not recall my reply; probably because I was speechless.

Now, author Rick Bragg has written a biography of Mr. Lewis which most likely will serve as his oral autobiography; much in the same way that Merle Miller’s “Plain Speaking” serves as Harry Truman’s. Mr. Bragg spent 2 years with Mr. Lewis while writing this book; sometimes in the entertainer’s bedroom; which is equipped with a locking metal gate. The author doesn’t tell us whether or not the gate is there to keep the imaginary demons out; or the real ones inside. At any rate, this is where Mr. Lewis spends some of his time when not touring. (He was still performing on a limited basis until a year or so ago.)

Along with Jerry Lee’s own story; and the demons which haunt him; Mr. Bragg has given a good history of Ferriday and Louisiana in general. He describes it as a hard place; and as a southern boy himself he recognizes the dichotomy between religion and reality. He understands why Jerry Lee worries that playing rock and roll may exclude him from Heaven. It is only through his strong belief in the forgiveness of Jesus Christ that he manages to hold on these days.  He is; after all is said and done; the cousin of Jimmy Swaggart; an evangelist of note, if not an entertainer in his own right.

The book has a surprising humanity to it, given all that one associates with Jerry Lee Lewis and the Devil’s music. And Rick Bragg is just the right person to put it all done on paper. The conflict he feels with the talent God gave him to play rock and roll; or what just may be “the devils music” after all; worries him. It is plainly apparent that he comes from a place of ghosts, some of which haunt him. But at the same time he makes no apologies for who he has been and what he has done. He would; he believes; have done it differently now, but acknowledges freely that he probably wouldn’t. He’s a walking contradiction.

Rick Bragg does an excellent job in conveying the true essence of Jerry Lee Lewis; the original “bad boy” of rock and roll. He was there at the beginning and is still around today; at a time when most of his colleagues, and rivals, are gone. He is; as they say; the last man standing. He’s had health troubles; women troubles; financial troubles; you name it. He’s buried wives and children; been to the top of the pops and then down to playing cheap bars and clubs; then back up again, several times.

He’s been counted out as many times as Keith Richards; yet he’s always bounced back.  At 79 years of age; his body is ravaged by pain and he can only sit or stand in any one position for a few minutes at a time. But, recently married in 2012 to his longtime friend and recent caregiver; Judith Ann Coghlan; 14 years his junior, he is still rocking his life away.

"Just a Closer Walk with Thee" - Patsy Cline (Live)

For a Jewish kid I sure love gospel. There is nothing like careening down the road; or up one for that matter; on a blind curve singing about Jesus and just feeling good. Like I said, for a Jewish kid this is probably not quite kosher; or normal.

My love for the music comes from 2 places; the transistor radio I constantly had at my side; especially at night; and the history I read about slavery and the Negro Spirituals. Those 2 things are the most to blame for my passion for gospel music. Plus it just makes you feel really good.

Hank Williams took gospel to a whole different level; as did James Brown and Jerry Lee Lewis. It morphed into rhythm and blues and then rock and roll. But it all began with the gospel music. And gospel music came from the African-American Diaspora; which began in Africa when the first slave was either abducted or sold into slavery.

The ancient rhythms and chants of the slaves became the field hollers and spirituals of the Caribbean plantations, and later the pre-Civil War Era. During Reconstruction the music spread up the Mississippi River; with each port adding its own flavor.

But all that has little to do with this song and Patsy Cline. Not sure what year this is from, but it is obviously the audio from a radio show in the late 1950’S. Patsy Cline performed this song a score of times on the radio; and even on television. There was just one hitch; she did it differently each time. Sometimes slow; sometimes fast. Blues; or up tempo. This was her true artistry as an interpreter of songs. And this version is one of my favorite gospel songs.

Just a Closer Walk with Thee

I am weak but Thou art strong

Jesus keep me from all wrong

I'll be satisfied as long

As I walk, let me walk close to Thee

Just a closer walk with Thee

Grant it Jesus, is my plea

Daily walking close to Thee

Let it be dear Lord, let it be

When my feeble life is over

Time for me will be no more

Guide me gently, safely over

To Thy kingdom shore, to Thy shore

Just a closer walk with Thee

Grant it Jesus, is my plea

Daily walking close to Thee

Let it be dear Lord, let it be

Wanda Jackson - Hard Headed Woman (1957)

I love “discovering” new artists from 50 years ago. What’s not to like? They are playing the type of music which I enjoy; or can relate to; but which I have never heard before. Sometimes I have a brief familiarity with the name, or maybe one particular song; but this time I have made a true “discovery.” Her name is Wanda Jackson; though you all probably know that. Remember; I may have said I discovered her, but I didn't say that I was the first.

Wanda Jackson had a growl to her voice before it was considered “ladylike”. Maybe some of the blues greats; such as Bessie Smith, Willie Mae Thornton, and even Memphis Minnie, had already growled, but nice girls; and nice white girls in particular; did not growl at all. (Peggy Lee was one of the few exceptions to this.)

Wanda Jackson came by her growling sound at the behest of her father.  That’s the truth. One day she was singing but “holding back” when her Dad told her to just let it all out. So she did, and that was the birth of her sound.

And the way she walked and entranced the miners and factory workers wherever she played; sauntering on stage in everything from a simple dress to a full evening gown; or even slacks; she didn’t hide her figure, she used it.

The video above is from an early TV appearance and she sings; what for her is; a sort of ballad. But in the second video shown here she appears on Town Hall Party in 1957 singing a rockabilly version of Hard Headed Woman, which became kind of a signature song for her to perform; showing off her vocals and her figure.

With her short skirts, hoop earrings and shoes; all designed by her mother; she was one of the first female country stars to bring sex appeal and a sense of fashion to the country music scene. And did I mention that she could sing, too?

Little Richard - Still Rock and Rolling.

It's a cold January morning with the entire year ahead of us. Yikes! That's a daunting thought. So, let's start the day with a bit of Little Richard! Between his vocal histrionics, and one of the best left hands in show business, he should be able to get your blood pumping.

In this video he is doing "Long Tall Sally" from the 1956 film "Don't Knock the Rock." This man has influenced so many performers that it would be hard to name them all. From Elvis to the Beatles and the Stones; and all the way up through U2; Richard Penniman has left his mark on the world of music for generations to come. Even my grandchildren know him from Sesame Street and the video "Rubber Ducky."

Here are some other links to help you rock and roll a bit as you go about your daily routine.

This first one is from a 1950's television show. The song "Lucille" would become a signature of Little Richard's and rock and roll in general. It has been covered by too many artists to mention.

http://www.youtube.com/watch?v=z3-OaNevkfg

This is a fun version of "Good Golly Miss Molly" with John Goodman in it;
 
http://www.youtube.com/watch?v=kZ6h0kyqSRk

And finally, here's a short version of "Rubber Ducky" from Sesame Street.

http://www.youtube.com/watch?v=tWCEG6lV0ek&feature=related

Note: If Little Richard can't get your motor started then you are probably past saving.

Happy Birthday John Lennon -"C'est La Vie"

Today would be John Lennon’s 74^th birthday. Instead of some weepy tribute thing; or even a Beatles clip; I thought I would run something really cool by the man of whom John Lennon once said, “If you were to try and give Rock and Roll another name it might be called Chuck Berry.” He said that the week he was guest hosting the Mike Douglas Show from Philadelphia with Yoko Ono. Besides; having been born on October 18th; he's a fellow Libra, along with me. So, I figured John would enjoy this performance of one of Mr. Berry’s signature hits “C’est La Vie.” It was recorded in Germany at the Beat Club in Bremen during the 1972 tour.

Now, everybody knows this song but most people have never heard this version. The clarity and the relaxed way in which he handles his guitar make it a rare treat. Most of us are used to the faster paced version which became a hit for Mr. Berry and quite a few other artists. The song is even associated with Uma Thurman and John Travolta in the film “Pulp Fiction.” And Emily Lou Harris had a smash hit with it as well.

But this version tops any which I have heard over the years. The guitar weaving; done by Chuck solo; is creative and varied. He hints at his usual riffs but strays from them in a relaxed and less frenetic fashion than usual. Accompanied by Mike Snow on piano; Jimmy Campbell on guitar; Billy Kinsley on bass; and Dave Harrison on drums; this may be the best band he ever toured with during this period of time. He even has fun with the lyrics, describing the Refrigerator as a "Koolerader". (Something you put Kool-Aide in to make it cold.) If you have ever read his autobiography you already know that he loves to play with words.

His usual practice at the time was to pick up a local amateur band to back him in different towns as he toured the United States. Maybe because this was a European tour he took along one American band for the entire duration. The benefits of performing with the same group of musicians on a regular basis cannot be underestimated. And the results really show in this performance.

For a link to the Rooftop Review of Chuck Berry's 1987 memoir "The Autobiography", go here;

http://robertwilliamsofbrooklyn.blogspot.com/2013/09/the-autobiography-by-chuck-berry-1987.html

"Disorder In the House" Warren Zevon w/ Bruce Springsteen (2003)

Warren Zevon was one of the more unusual musicians to come out of the late 1970’s and early ‘80’s. His lyrics were always filled with imagery to dwell on. His music was sharp and stood out from much of the syrupy rock ballads which were so popular at the time. And, arriving as he did, on the back end of the disco craze, his songs were a soothing return to meaningful lyrics sung to a basic rock beat.

This song is from his last album, “The Wind”, which was released just after his death from cancer the same year. His destination with the end made him hyper aware of the limited time he had left in which to write and record, and also produced one of his finest albums. Bruce Springsteen plays guitar and adds his signature vocals to the track, making it even more special.

Here is a link to Mr. Zevon’s last appearance on the David Letterman Show in October 2002, where he discussed his terminal illness and how it affected his creativity in a positive way.

http://www.youtube.com/watch?v=z7Mirkd3CT4

And here is another one showing Bruce Springsteen recording the solo for the record with Mr. Zevon;

http://www.youtube.com/watch?v=0Iz2RE6DA7w

"Disorder In The House" by  Warren Zevon & Jorge Calderón. 

From the album "The Wind" released in 2003.

Disorder in the house

The tub runneth over

Plaster's falling down in pieces by the couch of pain

Disorder in the house

Time to duck and cover

Helicopters hover over rough terrain

Disorder in the house

Reptile wisdom

Zombies on the lawn staggering around

Disorder in the house

There's a flaw in the system

And the fly in the ointment's gonna bring the whole thing down

The floodgates are open

We've let the demons loose

The big guns have spoken

And we've fallen for the ruse

Disorder in the house

It's a fate worse than fame

Even the Lhasa Apso seems to be ashamed

Disorder in the house

The doors are coming off the hinges

The earth will open and swallow up the real estate

I just got my paycheck

I'm gonna paint the whole town grey

Whether it's a night in Paris or a Fresno matinee

It's the home of the brave and the land of the free

Where the less you know the better off you'll be

Disorder in the house

All bets are off

I'm sprawled across the davenport of despair

Disorder in the house

I'll live with the tosses

And watch the sundown through the portiere

Disorder in the house

The tub runneth over

Plaster's falling down in pieces by the couch of pain

Disorder in the house

Time to duck and cover

Helicopters hover over rough terrain

Disorder in the house

Reptile wisdom

Zombies on the lawn staggering around

Disorder in the house

There's a flaw in the system

And the fly in the ointment's gonna bring the whole thing down

The floodgates are open

We've let the demons loose

The big guns have spoken

And we've fallen for the ruse

Disorder in the house

It's a fate worse than fame

Even the Lhasa Apso seems to be ashamed

Disorder in the house

The doors are coming off the hinges

The earth will open and swallow up the real estate

I just got my paycheck

I'm gonna paint the whole town grey

Whether it's a night in Paris or a Fresno matinee

It's the home of the brave and the land of the free

Where the less you know the better off you'll be

Disorder in the house

All bets are off

I'm sprawled across the davenport of despair

Disorder in the house

I'll live with the tosses

And watch the sundown through the portiere.

"It's Only me" by Robert Williams (2009) - The E book Version

In 2009 I wrote a short memoir called; appropriately; “It’s Only Me.” It consists of 30 chapters, with photos, written during 30 sessions of approximately 1 hour each over the course of 4 months. I posted it here as I wrote it; which means that it has never been posted in one spot all at the same time.

I suppose I could do that now, but that would be one long post! Instead I am going to post it here as my version of an “e-book.”  The real purpose for this post is so that I can have all 30 chapters in one spot. If anybody actually reads it; well, that’s always a plus!

http://robertwilliamsofbrooklyn.blogspot.com/2009/07/its-only-me.html

 

http://robertwilliamsofbrooklyn.blogspot.com/2009/07/its-only-me-chapter-2-early-years.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/07/its-only-me-chapter-3-odd-jobs-and_09.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/07/its-only-me-chapter-4-juinor-high.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/07/its-only-me-chapter-5-friends-and.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/07/its-only-me-chapter-6-politics-working.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/07/its-only-me-chapter-7-getting-high-with.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/08/its-only-me-chapter-8-sex-and-ulcers.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/08/its-only-me-chapter-9-2132-ocean-avenue.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/08/its-only-me-chapter-10-ohio.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/08/its-only-me-chapter-11-harry-and-als.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/08/its-only-me-chapter-12-lost-year.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/08/its-only-me-chapter-13-little.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/09/its-only-me-chapter-14-in-navy-boot.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/09/its-only-me-chapter-15-learning-ropes.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/09/its-only-me-chapter-16-leave-and-my.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/09/its-only-me-chapter-17-uss-milwaukee.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/09/its-only-me-chapter-18-merchant-marine.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/09/its-only-me-chapter-19-usns-pawcatuck_25.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/09/its-only-me-chapter-20-usns-jupiter-and.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/09/its-only-me-chapter-21-baltimore.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/10/its-only-me-chapter-22-concerning.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/10/its-only-me-chapter-23-usns-sirius-and.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/10/its-only-me-chapter-24-meeting-sue.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/10/its-only-me-chapter-25-licensed.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/10/its-only-me-chapter-26-victory-at-last.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/10/its-only-me-chapter-27-kids-and-jobs.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/11/its-only-me-chapter-28-wedding-and.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/11/its-only-me-chapter-29-family-life-baby.html

http://robertwilliamsofbrooklyn.blogspot.com/2009/11/its-only-me-chapter-30-rick-stines.html

"Sweet Jane" - Lou Reed Live

Lou Reed defined New York City Punk Rock in the early 1970’s and even pulled that weight long into the 1980’s and beyond. I was never a huge fan, but some of his stuff was stellar, like this song. Another highlight of his long career was the album “Coney Island” released in the late 1970’s.

Some folks dismiss him as a minor blip on the radar of Rock and Roll history, but I have to disagree. He was influential in taking the music he heard and turning that into something new and unique. His lyrics were always edgy, as in “Take a Walk on the Wild Side” which explored the gay sex scene just a few years after the Stonewall Riots in New York’s West Village. The man pushed envelopes.

Although not a guitarist along the lines of Eric Clapton or any of the other superstars he was able to gain and hold a fan base for over 40 years with only a few big hits to sustain him. His magic was in connecting with his audience and knowing how to reach them. Just listen to this song; I mean how many ways can you play 2 chords over and over again and keep it interesting? Somehow he does, which presents an equal challenge for the lead guitarist.

There is a much earlier version of this song recorded in Paris in 1974. Mr. Reed was decidedly under the influence of “glam rock” at the time; it shows in his stage dress. Contrast that video with the later, more mature version and see which you prefer. Both are very good, I just preferred to post the one above. I think it’s because of the more simple staging, and perhaps the sound quality. That video is at;

http://www.youtube.com/watch?v=hnZTarK9Ohc

And, if anyone knows when and where the video at the top was recorded, please let me know!

Elvis- Christmas Comeback Show (1968)

This was the ultimate Christmas special in 1968. Elvis had been lying about; making crappy movies for almost 10 years at this point and some folks thought he had lost his edge. Were they ever wrong! In this 72 minute special Elvis goes through every type of entertainment. Between singing, playing guitar, dancing, the production numbers and duets with Ann Margaret; this show represents the all-around entertainment which was the staple of television, especially around holiday times.

But the best part of this show; the part that blew all the naysayers away; comes at about 40 minutes into the show, when Elvis; along with his band; perform a medley of his greatest hits from the 1950’s acoustically and absolutely live. 

The drummer is using sticks on a chair to beat out the rhythm, and Elvis can’t seem to get a neck strap for his guitar. But this is the portion of the show which showed the world that he still had “it”. At one point he simply wiggles a pinky and the audience goes wild, much to the amusement of Elvis. Even the Beatles had to shake their heads to get that kind of reaction.

"Phil Spector" with Helen Mirren and Al Pacino (2013)

You’ve got to admire a movie about a person as famous as Phil Spector which begins by telling you it is not the truth. But then again, with Phil Spector, you just never really know anyway. The movie, written by David Mamet, is narrowly focused on the Mr. Spector’s first trial for the murder of aspiring actress Lana Clarkson. Helen Mirren plays his attorney in this highly imaginative, yet oddly engrossing film.

Shifting between the events of the trial and the personal life of this famous icon as the trial takes place helps the viewer to decipher the oddities of Mr. Spector’s thinking. The beleaguered attorney, who at first despises her client, finally comes to have a begrudging respect for his self-proclaimed genius.

David Mamet both wrote this film and directs it. He may have an agenda in getting Mr. Spector’s sentence reduced; or at least mitigated. He is currently housed at California Health Care Facility (CHCF), which is located in Stockton. He was sentenced to 19 years to life for the murder, which he still denies having committed.

The highly fictionalized film does manage to recall some of the juicier moments of a career gone awry. Al Pacino, who plays the infamous record producer, does a great job in dress and mannerisms, although his dialogue is pure Al Pacino. During the scenes in Mr. Spector’s home I kept expecting him to pull a machine gun from beneath his robes, yelling, “Meet my little friend!” But dialogue aside, the choice of Mr. Pacino to play this part was a very good one. He is built roughly the same as Mr. Spector and they actually do look alike.

You will have to get over the shock of Mr. Pacino changing wigs for almost each scene, but then again, that’s what Mr. Spector did in real life. Just look at his trial photos and you will see a vast array of hairstyles ranging from long ringlets to an outrageous Afro which would be the envy of Angela Davis in 1968.

Mr. Mamet has written some great dialogue in his attempt to explore the bizarre world of Phil Spector, recalling some of his finest moments, as well as his worst. Along the way he reminds the viewer of some of Mr. Spector’s greatest successes. From the Ronnettes and the Righteous Brothers, to his producing the Beatle’s album “Let It Be”, Mr. Mamet has painted a picture of a man who is at once seriously talented, and fatally flawed.

The only assertion which I can actually take issue with in this film is the claim that his production of the Beatles “Let It Be” made it a hit. It should be noted that the Beatles had already moved on to record their real last album, “Abbey Road”, in the summer of 1969; leaving the disastrous and unmixed recordings from the “Let It Be” sessions unfinished.

With the Beatles themselves disinterested in working on the album, their regular producer; George Martin; allowed it to be “farmed” out to Mr. Spector, who proceeded to overdub it with orchestras and tape loops. The only Beatle even involved in that effort was John Lennon, who was not at his best at the time. The album has since been re-released; produced by George Martin; with all of the excessive layering removed. It has been retitled “Let It Be – Naked.” 

And, speaking of naked, here's Phil Spector without his wigs.

"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.

"Long Tall Sally" - Little Richard - Live (1956)

This is an outstanding live version of Little Richard performing “Long Tall Sally” on an American TV show from 1956. It’s pure raw rock and roll as only Little Richard could deliver it. Within about 7 more years the Beatles would intersect with Mr. Penniman and he would teach Paul McCartney how to sing this song at the Royal Variety Show for Queen Elizabeth.

Just prior to the show the Fab Four met with Little Richard who showed McCartney how to “ball up some saliva at the back of your throat” and just let it rip! McCartney took the advice and “Ripped It Up” that night and even a few weeks later on Swedish television when he gave the best performance of this song by the Beatles. Just watch Ringo beat the hell out of those drums, and then catch the expression on the face of the emcee as he tries to cope with something he has never experienced before. Beatlemania was about to go worldwide.

"Trying to Get to You" - Elvis Presley (1968)

In 1968 Elvis Presley did a TV special just before Christmas. It was a mixture of a variety show format, with musical numbers featuring Anne Margaret and a host of dancers. But the best part was the half hour or so when Elvis came out with his band, sitting in chairs facing one another, and played some real Sun Records rock and roll.

“Trying to Get to You” was a show stopper for me. Clad in leather and leading the band with his vocals, as well as his more than competent guitar playing, this may have been the best performance of the last decade of his life. It was almost as if, in response to the “British Invasion”; which was at its peak in 1968; he needed to show he was still relevant after almost 10 years of making pretty bland films on the West Coast. 

In a way, this show was a reminder that the sounds coming back at us from Europe had begun here in the good old USA. And Elvis, along with the rest of the “Million Dollar Quartet” at Sun Records, had been there at the beginning, when blues, country and jazz all fell in with one another and gave birth to a new sound called rock and roll.

This is just a short sample of the magic which was Elvis when he was really being Elvis, and not playing a movie role. After making all those movies he must have had to really practice a bit for this special in order to capture that original magic. Ironically, that probably makes him the greatest Elvis impersonator of all time. Hit You Tube for the full show at;

http://www.youtube.com/watch?v=fipT2RRvdLY

"I'm Just a Jitterbug" - Oswald Rabbit (1939)

I love this cartoon for its musical ensemble; composed of various critters; most notably the frogs, and their wonderful harmonies; as well as the humans, in this Cab Calloway inspired performance. It’s reminiscent of Cab’s swinging, storytelling style of delivering his particular brand of music, which by the time this cartoon was released, had overrun America and even Europe. It was the era of the big band and the sound of swing, be-bop, and jazz; all of which would coalesce into rock and roll in about 15 years after this cartoon was first seen.

Also of note is that this is a Walter Lantz cartoon, which is evident the moment you see his hand drawing the opening of the feature, which is kind of a trademark of his work. Later on, after the advent of Woody Woodpecker, this is the same hand which occasionally would stuff Woody back in the ink bottle when he got too wild to control. I always loved that mixture of reality and the cartoon. The Oswald Rabbit series was a definite attempt to compete with Warner’s new cartoon characters, which included a fellow named Bugs Bunny. Bugs won, but Oswald lives on, with a good many fans of his own.

I know this cartoon has a politically incorrect ending for these times, perhaps anytime for that matter, but it is only a cartoon and not in any way a suggestion on how to solve your differences. It seems sad that I must point this out.

Check out all of the crazy characters and their swinging dance moves. The turtle is very good as he slides his partner beneath his shell; only to have her fly from her own shell; as the dogs dance, and the octopi become entangled in their own arms. Only the cuckoo in the clock has enough sense to finally call an end to the evening’s festivities when the clock strikes twelve.

The cartoon was a combination of winning ideas from an in-house contest Walter Lantz ran in his studio with the rest of his crew to furnish gags for the production. The prizes ranged from $2 to $10, which was pretty good for 1939! Actually, the cartoon was begun in September of 1938 and released in January of 1939, just a little less than 4 months’ time. Try that with today’s animation! You might get the credits done.

The “Cartune” series predates the “Swing Symphonies” series which came out in the early 1940’s. The music in this cartoon was inspired by the Ella Fitzgerald smash hit of 1938- “I’m Just a Jitterbug.” You can listen to it here;

http://www.youtube.com/watch?v=7yksQDQB3QE

Sunday Music - The Grand Ole Opry (1956)

When I was kid I always heard of this far-away place called Nashville and the Grand Ole Opry. I also had a sense that I was missing out on something that was not only different, but perhaps even better than the more staid variety shows which emanated out of New York, or even Los Angeles.

In this show from the Ryman Auditorium; which was broadcast on April 18, 1956; the cast includes Carl Smith as host, with guests Buddy Ebsen; before Jed Clampett; Chet Atkins, Collins Kids, The Jordanaires; just before the Elvis madness; June Carter; before Johnny Cash; Lester Flatt and the recently departed Earl Scruggs, with comedienne Minnie Pearl, and a few others.

The show may be irritating to some; there are people who will find this show to be annoying. I find it interesting in several ways. It’s a visual record of what was funny to middle America during the 1950’s,; and as such helps to explain the politics and culture of the times. It was; mainly; still an agricultural society, and the entertainment that the people in the rural communities may not have been as sophisticated as that of the slicker network shows; but there is something very personable, and almost noble in these shows.

These were hard working, mainly unschooled folks, who made their own everything; including entertainment. And eventually, as Elvis and Carl and Johnny, along with Jerry Lee Lewis, broke the barriers separating the entertainment business, they became us and we became them. By that I mean that this is where it all began in popular music as we know it today. These are the roots of our modern day culture; even the various reality shows’ and American Idol took something of their formats from these seemingly unsophisticated shows.

I originally was going to post Hank Williams doing “I Saw the Light”, but the powers that control such things made the video not downloadable. It’s too bad for them, and good for me. Because without the inability to show the Hank Williams video, I would never have stumbled across the many other Grand Ole Opry shows  that are downloadable.

I don’t expect that many of my fellow Americans will enjoy this type of show anymore. It will probably get more hits out of Europe, where traditional American music is still revered. 

"I Want to Sing that Rock and Roll" - Gillian Welch and David Rawlings

I’m thinking of making Sunday a day for gospel music; and while I’m thinking about it; I can think of no better representatives of the modern gospel scene than Gillian Welch and David Rawlings, whom I featured here last week singing “I’ll Fly Away”.

Gospel music is often mistaken as simply being songs about Christianity; but, as a Jewish kid from Brooklyn; I can tell you honestly that there is so much more to gospel music once you scratch the surface. Gospel music transcends not only the troubles of this world; promising something better beyond the present; it also bridges the differences between us all with its themes of sorrow, redemption and joy. It’s like listening to Hank Williams “singing” his pain. It lifts you up just hearing him get the pain out. Like the blues.

In this song the emphasis is on wanting what you don’t have, and feeling left out. It speaks of peer pressure, and reluctant change; “everybody’s been making a shout, so big and loud, drowning me out….” The singers want to lay down their old guitars and pick up new electrified instruments. They are weary of trying to be heard above the din. I think we have all felt this way at one time or another when confronted with change. Because sometimes change doesn't feel like progress at all.