Click on the headline to link to a YouTube film clip of the Teen Angels performing Eddie, My Love.
CD Review
The Rock ‘N’ Roll Era: 1956: various artists, Time-Life Music, 1987
I, seemingly, have endlessly gone back to my early musical roots in reviewing this Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we, we small-time punk in the old-fashioned sense of that word, we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not Billie who I will talk about later, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.
Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears, at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Ya right, Ma, like Patti Page or Bob (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) Crosby and The Bobcats were supposed to satisfy our jail break cravings.
But can you blame me, or us, for our jail-break visions and our clandestine subterranean life-transistor radio dreams of lots of girls (or boys as the case may be), lots of cars, and lots of money if we could just get out from under that parental noise. Now this Time-Life series has many compilations but as if to prove my point beyond discussion the year 1956 has two, do you hear me, two CDs to deal with that proposition that I mentioned above. And neither includes Elvis, Jerry Lee, Bo Diddley or some other stuff that I might have included. I already reviewed the other 1956 compilation previously but here are the stick outs from this selection:
Blue Suede Shoes, Carl Perkins (Elvis covered it and made millions but old Carl had a better old rockabilly back beat on his version); In The Still Of The Night, The Five Satins (a doo wop classic that I am humming right this minute, sha dot do be doo, sha dot do be doo or something like that spelling, okay); Eddie, My Love, The Teen Queens (incredible harmony, doo wop back-up, and, and “oh Eddie, please don’t make me wait too long” as part of the lyrics, Whoa!); Roll Over Beethoven, Chuck Berry ( a deservedly early break-out rock anthem. Hell I thought it was big deal just to trash Patti Page old Chuck went after the big boys.); Be-Bop-a-Lula, Gene Vincent (the guy was kind of a one hit wonder but Christ what a one hit, "ya, she’s my baby now"); Blueberry Hill, Fats Domino (that old smooth piano riffing away); Rip It Up, Little Richard (he/she wild man Richard rips it up; Young Love, Sonny James ( dreamy stuff that those giggling girls at school loved, and so you "loved" too); Why Do Fools Fall In Love?, Frankie Lymon and the Teenagers (for a minute the king be-bop, doo wop teenage angel boy. Everybody wanted to be the doo wop king or queen); See You Later, Alligator, Bill Haley and The Comets (ya, these “old guys” could rock, especially that sax man. Think about it people still use the expression “see you later alligator”); and Since I Met You Baby, Ivory Joe Hunter (every dance pray, every last dance pray, oh my god, let them play Ivory Joe at the end so I can dance close with that certain she I have been eyeing all night).
Note: I have mentioned previously the excellent album cover art that accompanies each Time-Life classic rock series compilation. Not only does it almost automatically evoke long ago memories of red hot youth, and those dreams, those steamy dance night dreams too, but has supplied this writer with more than one idea for a commentary. This 1956 compilation album cover is in that same vein. The cover shows what looks like a local cover band from the 1950s getting ready to perform at the local high school dance. Although the guys, especially the lead vocalist, look a little skittish they know they have to make a good showing because this is their small time chance at the big time. Besides there are about six thousand other guys hanging around in their fathers’ garages ready and willing to step up if the Danny and the Bluenotes fall flat.
This live band idea is actually something of a treat because, from what I recall, many times these school dance things survived on loud record playing dee-jay chatter, thus the term “record hop.” From the look of it the school auditorium is the locale (although ours were inevitably held in the school gym), complete with the obligatory crepe, other temporary school-spirit related ornaments and a mesmerized girl band groupie to give the joint a festive appearance.
More importantly, as I said before, at least for the band, as they are to be warming up for the night’s work, is that they have to make their mark here (and at other such venues) and start to get a following if they want to avoid another dreaded fate of rock life. Yes, the dreaded fate of most bands that don’t break out of the old neighborhood, the fate of having to some years down the road play at some of the students they are performing for today children’s birthday parties, bar mitzvahs, weddings and the like. That thought should be enough to keep these guys working until late in the night, jamming the night away, disturbing some old fogy Frank Sinatra fans in the neighborhood, perfecting those covers of Roll Over Beethoven, Rip It Up, Rock Around The Clock and Jailhouse Rock. Go to it boy, you bet.
Tuesday, December 21, 2010
Monday, December 20, 2010
Who Is That Fred Astaire Is Dancing With?-“You’ll Never Get Rich”- A Film Review
Click on the headline to link to a YouTube film clip of a scene with Fred Astaire dancing in You’ll Never Get Rich.
DVD Review
You’ll Never Get Rich, Fred Astaire, Rita Hayworth, 1941
Okay, let me bring you up to speed on the obscure meaning of the headline. See, a while back I was smitten by a film star, an old time black and white film star from the 1940s, Rita Hayworth. The film that sent me into a tailspin: the black and white noir classic Gilda where she played a “good” femme fatale who got in a jam with a no good monomaniacal crook. But that part is not important femme fatales, good or bad, get mixed up with wrong gees all the time. It’s an occupational hazard. What is important though is that I got all swoony over lovely, alluring Rita. And as happens when I get my periodic “bugs” I had to go out and see what else she performed in. Of course Lady From Shang-hai came next. There she plays a “bad” blondish femme fatale (against a smitten Orson Welles). And now this film under review, You’ll Never Get Rich. We are caught up.
Now the plot line here, the never-ending boy meets girl plot line that Hollywood mass-produced (and mass-produces) is pretty simple, except that it takes place in getting ready for World War II America and so military preparedness is part of the backdrop (although obvious this is before Pearl Harbor, after that event such shenanigans would seem unpatriotic). Broadway show dance man Fred Astaire is smitten, very smitten (join the line, Fred) by chorine dancer Rita who also has a sting of other men eating out of her hand, the important one being Fred’s devilish Broadway boss, a married, a very married, shirt-chaser. And from there the hi-jinks begin leading to Fred’s departure for the army as a refuse, and eventually, as those Hollywood boy meet girl things often did to the altar (in an unusual way here though, I‘d say).
But forget the story line here. This thing, and righteously so, is strictly about Fred’s dancing, dancing alone, dancing with a partner, dancing up a wall (oops that was another film) but dancing with so much style it is impossible to keep your eyes off him (saying how did he do that all the while). For style, grace, and physical moves every one of those guys you see on shows like Dancing With The Stars, well, just tell them to move on over, and watch a real pro. Hey, wait a minute, what about Rita? Ya, what about her. Here she is just along for the ride. She almost looks “clumsy” compared to him. She, however, has other charms, okay.
**********************
Who Is That Rita Hayworth Is Dancing With?-“You Were Never Lovelier”- A Film Review
DVD Review
You Were Never Lovelier, Fred Astaire, Rita Hayworth, Xavier Cugat, Adophe Menjou, music by Jerome Kern and Johnny Mercer, 1943
The first paragraph below is taken from other reviews about Rita Hayworth although the male stars are different here, except they all have a similar feature; they all are smitten, very smitten, by Ms. Hayworth’s charms. Join the line, boys:
“Okay, let me bring you up to speed on the obscure meaning of the headline. See, a while back I was smitten by a film star, an old time black and white film star from the 1940s, Rita Hayworth. The film that sent me into a tailspin: the black and white noir classic Gilda where she played a “good” femme fatale who got in a jam with a no good monomaniacal crook. But that part is not important femme fatales, good or bad, get mixed up with wrong gees all the time. It’s an occupational hazard. What is important though is that I got all swoony over lovely, alluring Rita. And as happens when I get my periodic “bugs” I had to go out and see what else she performed in. Of course Lady From Shang-hai came next. There she plays a “bad” blondish femme fatale (against a smitten Orson Welles)."
And now this film under review, You Were Never Lovelier. We are caught up.
Now the plot line here, the never-ending boy meets girl plot line that Hollywood mass-produced (and mass-produces) is pretty simple, except that it takes place in Buenos Aires (although the twelve dollars spent on fake stage scene-settings made me think of little white houses with picket fences in Indiana, or some place like that). When all is said and done, despite the machinations of Maria’s (Rita Hayworth) father (Adophe Menjou), Broadway show dance man Fred Astaire is smitten, very smitten (join the aforementioned line, the now long line, Fred) by her “Spanish” charms and her sweet coquettishness. And from there the hi-jinks really begin as all parties, wives, aunts, sisters, Christ, even grandma, and a much put upon father’s business assistant try to get this pair matched up. And as these Hollywood boy meet girl things often turn out, we will hear wedding bells before the end.
But forget the story line. This thing, like almost all Fred Astaire vehicles, and righteously so, is strictly about Fred’s dancing, dancing alone, dancing with a partner, dancing up a wall (oops that was another film) but dancing with so much style it is impossible to keep your eyes off him (saying how did he do that all the while). For style, grace, and physical moves every one of those guys you see on shows like Dancing With The Stars, well, just tell them to move on over, and watch a real pro. Hey, wait a minute, what about Rita? Ya, what about her. Here she is just along for the ride, although less so than in the previously reviewed You’ll Never Get Rich. She is more in synch here with Fred’s moves but it is still Fred's dancing which draws the eye. As I noted before, Rita, however, has other charms, okay.
Note: The music of Jerome Kern and Johnny Mercer need no further comment, nor does the work of band leader Xavier Cugat. These are all pros from the old Tin Pan Alley music days of the American songbook. Enough said
DVD Review
You’ll Never Get Rich, Fred Astaire, Rita Hayworth, 1941
Okay, let me bring you up to speed on the obscure meaning of the headline. See, a while back I was smitten by a film star, an old time black and white film star from the 1940s, Rita Hayworth. The film that sent me into a tailspin: the black and white noir classic Gilda where she played a “good” femme fatale who got in a jam with a no good monomaniacal crook. But that part is not important femme fatales, good or bad, get mixed up with wrong gees all the time. It’s an occupational hazard. What is important though is that I got all swoony over lovely, alluring Rita. And as happens when I get my periodic “bugs” I had to go out and see what else she performed in. Of course Lady From Shang-hai came next. There she plays a “bad” blondish femme fatale (against a smitten Orson Welles). And now this film under review, You’ll Never Get Rich. We are caught up.
Now the plot line here, the never-ending boy meets girl plot line that Hollywood mass-produced (and mass-produces) is pretty simple, except that it takes place in getting ready for World War II America and so military preparedness is part of the backdrop (although obvious this is before Pearl Harbor, after that event such shenanigans would seem unpatriotic). Broadway show dance man Fred Astaire is smitten, very smitten (join the line, Fred) by chorine dancer Rita who also has a sting of other men eating out of her hand, the important one being Fred’s devilish Broadway boss, a married, a very married, shirt-chaser. And from there the hi-jinks begin leading to Fred’s departure for the army as a refuse, and eventually, as those Hollywood boy meet girl things often did to the altar (in an unusual way here though, I‘d say).
But forget the story line here. This thing, and righteously so, is strictly about Fred’s dancing, dancing alone, dancing with a partner, dancing up a wall (oops that was another film) but dancing with so much style it is impossible to keep your eyes off him (saying how did he do that all the while). For style, grace, and physical moves every one of those guys you see on shows like Dancing With The Stars, well, just tell them to move on over, and watch a real pro. Hey, wait a minute, what about Rita? Ya, what about her. Here she is just along for the ride. She almost looks “clumsy” compared to him. She, however, has other charms, okay.
**********************
Who Is That Rita Hayworth Is Dancing With?-“You Were Never Lovelier”- A Film Review
DVD Review
You Were Never Lovelier, Fred Astaire, Rita Hayworth, Xavier Cugat, Adophe Menjou, music by Jerome Kern and Johnny Mercer, 1943
The first paragraph below is taken from other reviews about Rita Hayworth although the male stars are different here, except they all have a similar feature; they all are smitten, very smitten, by Ms. Hayworth’s charms. Join the line, boys:
“Okay, let me bring you up to speed on the obscure meaning of the headline. See, a while back I was smitten by a film star, an old time black and white film star from the 1940s, Rita Hayworth. The film that sent me into a tailspin: the black and white noir classic Gilda where she played a “good” femme fatale who got in a jam with a no good monomaniacal crook. But that part is not important femme fatales, good or bad, get mixed up with wrong gees all the time. It’s an occupational hazard. What is important though is that I got all swoony over lovely, alluring Rita. And as happens when I get my periodic “bugs” I had to go out and see what else she performed in. Of course Lady From Shang-hai came next. There she plays a “bad” blondish femme fatale (against a smitten Orson Welles)."
And now this film under review, You Were Never Lovelier. We are caught up.
Now the plot line here, the never-ending boy meets girl plot line that Hollywood mass-produced (and mass-produces) is pretty simple, except that it takes place in Buenos Aires (although the twelve dollars spent on fake stage scene-settings made me think of little white houses with picket fences in Indiana, or some place like that). When all is said and done, despite the machinations of Maria’s (Rita Hayworth) father (Adophe Menjou), Broadway show dance man Fred Astaire is smitten, very smitten (join the aforementioned line, the now long line, Fred) by her “Spanish” charms and her sweet coquettishness. And from there the hi-jinks really begin as all parties, wives, aunts, sisters, Christ, even grandma, and a much put upon father’s business assistant try to get this pair matched up. And as these Hollywood boy meet girl things often turn out, we will hear wedding bells before the end.
But forget the story line. This thing, like almost all Fred Astaire vehicles, and righteously so, is strictly about Fred’s dancing, dancing alone, dancing with a partner, dancing up a wall (oops that was another film) but dancing with so much style it is impossible to keep your eyes off him (saying how did he do that all the while). For style, grace, and physical moves every one of those guys you see on shows like Dancing With The Stars, well, just tell them to move on over, and watch a real pro. Hey, wait a minute, what about Rita? Ya, what about her. Here she is just along for the ride, although less so than in the previously reviewed You’ll Never Get Rich. She is more in synch here with Fred’s moves but it is still Fred's dancing which draws the eye. As I noted before, Rita, however, has other charms, okay.
Note: The music of Jerome Kern and Johnny Mercer need no further comment, nor does the work of band leader Xavier Cugat. These are all pros from the old Tin Pan Alley music days of the American songbook. Enough said
Wednesday, December 15, 2010
** Out In The Be-Bop Night-Scenes From The Search For The Blue-Pink Great American West Night- The Siren Call Of The Mountain Wind Song
Markin comment:
The scene below stands (or falls) as a moment in support of that eternal search mentioned in the headline .
Scene Five: The Siren Call Of The Mountain Wind Song In The Search For The Blue- Pink Great American West Night
Hey, not every aspect of the 1960s blue-pink night was a search for some kind of transcendence. Mostly it was that, and its glow has kept a few of us warm through many a desperate dark, cold night since. But sometimes it was running away from the past, from roots, or maybe better, from rooted-ness. Or just plain old running away from what lurked ahead, and ahead did not seem as good as the road, the road with all its troubles. For those who have read the previous scene, the scene where I got stuck down in a Steubenville, Ohio 1969 truck stop diner and got “lucky” finding a woman friend to share the road with, you know at the end of that episode we were heading out, or trying to head out West. For those who have not read that scene let me introduce my new lady friend, Angelica. Angelica, who, as fate would have it, was working in that diner truck stop where I got stuck and happened to think I was “nice” and after a little of this and that decided that her search for meaning in her young life entailed accompanying me on the road west. Whoa! In any case there she was walking beside me as we tried to hitch a ride from one of the rigs idling at the stop. If you want to know the details of the “how come” of our walking together just now go read that last scene, otherwise I will try to fill you in as we go along.
In the process of getting you filled in, let’s get one thing clear. When you were on the road, on the 1960s hitchhike road, and trying to get across the country the rules, the rules of the road, were a little different than the rules in workaday life. Your take on life and your, usually, transient relationships with passing strangers, male or female, got a little twisted. Not necessarily in a bad way, but twisted. I was pleased, pleased beyond belief, as least privately, to have winsome, fetching Angelica along. As I mentioned before in those hitchhike days it was always easier to get rides when you had a female companion, and one with good legs and a good shape, a shape that drivers could notice as they sped by was a plus. Maybe, thinking it was a mirage anyway, not every benny high, moony, overstretched transcontinental truck driver, running overweight anyway, would put on the airbrakes for her on the Interstate at eighty miles an hour. But those young, slower lane sedan drivers would slam on the brakes, and gladly. Ya, I know now it is not cool, nor should it be, to be using a woman as a “decoy” in that way but that was the way it was then “on the road.”
Now, if you don’t know, meaning you haven’t read the previous scenes, I, by this time, had been periodically crossing the country for some time in search of …... well, in search of something because just now, some forty years later, I am getting just a little weary of calling it the blue-pink night but this was Angelica’s whimsical maiden voyage. Angelica, was, moreover, pretty naïve about life and clueless about the road having just a few weeks earlier left home and hearth in cozy mid-country Muncie, Indiana. (Don’t tell me all about the famous Lynd sociological study of squaretown, oops, I mean, Middletown, that used that town as its sample back in the 1920s I already mentioned that before.) Therefore she was crushed beyond my comprehension, as we walked closer to the idling trucks on the other side of the diner, when I mentioned to her that the small suitcase (neatly packed) she was carrying was not a good road item compared to a nice fungible knapsack for when we had to do some walking between rides. I do not know, and I never found out, whether the look, not the nice sly, coquettish look that she greeted me with early in our “courtship” at the diner and that hooked me, but some volcanic devilish look when I mentioned that to her the fact that she was going to have to abandon that suitcase or that the “road”, the real hitchhike road meant some walking. Later, and not much later at that, she saw my point about the suitcase, but that does not erase that look from memory’s eye.
Nor was that little episode the end of out little road “adjustments.” In the few weeks that Angelica had been working long hours at the diner she served many of the truckers whose rigs were idling in the truck stop rest area we were cruising for rides. So, naturally, she tried to find out where some of those that she knew were heading. This day, they are heading mainly east, or anyway not west. Finally, she ran into one burly teamster, Eddie, who was heading down Route 7 along the Ohio River to catch Interstate 64 further down river and then across through to Lexington, Kentucky. Angelica was thrilled because, as it turned out, she had kin (her term, okay), a cousin or something, down in Prestonsburg, Kentucky whom she hadn’t seen in a while and where we could stay for a few days and take in the mountain air (her idea of rest, mine then and now, was strictly ocean breezes, thank you). I tried, tried desperately, without being obnoxious about it, to tell her that heading south was not going to get us to the West very easily. She would have none of it, and she rightly said, that we were in no rush anyway and what was wrong with a little side trip to Kentucky anyway. Well, I suppose in the college human nature course, Spat-ology 101, if there was such a course then, and they taught it, I should have had enough sense to throw in the towel. After all this was Angelica’s first, now seriously, whimsical venture out on the road. And I did, in the end, throw in the towel, except not for the reason that you think.
What Angelica didn’t know until later, and you didn’t know until now, was that I was deathly afraid of going to Kentucky. See, I had set myself up to the world as, and was in fact in my head, a Yankee, an Oceanside Yankee, if you like. I was born in Massachusetts and have the papers to prove it, but on those papers there is an important fact included. My father’s place of birth was Hazard, Kentucky probably not more than fifty to one hundred miles away from Prestonsburg. He was born down in the hills and hollows of mining country, coal mining country, made famous in song and legend. And also made infamous (to me) by Michael Harrington’s Other America which described in detail the plight of Appalachian whites, my father’s people. And also, as a result of the publicity about the situation down there, the subject in my early 1960s high school of a clothing drive to help them out. My father left the mines when World War II started, enlisted in the Marines, saw his fair share of battles in the Pacific, got stationed before discharge at a Naval Depot in Massachusetts and never looked back. And see I never wanted him to look back. That’s the way it was back then, make of it what you will. Sure, now, among other things, I can thank winsome, head-strong Angelica for making that move, but then, well, like I said I threw in the towel, but I was not happy about it. Not happy at all.
Actually the ride down Route 7 was pretty uneventful and, for somebody who did not feel comfortable looking at trees and mountains, some of the scenery was pretty breath-taking. That is until we started getting maybe twenty miles from Prestonsburg and the air changed, the scenery changed, and the feel of the social milieu changed. See we were getting in the edges of coal country, not the serious “Bloody Harlan” stuff of legend but the older, scrap heap part that had been worked over, and “worked out” long along. The coal bosses had taken the earth’s assets and left the remnants behind to foul the air and foul the place.
But, mostly, and here is where I finally understood why my father took his chances in World War II and also why he never looked back, shacks. Nothing but haphazardly placed, unpainted shacks, hard-scrabble patched roofs just barely covering them. With out-houses, out-houses can you believe that in America in the 1960s. And plenty of kids hanging out in the decidedly non-manicured front yards waiting… well, just waiting. Look, I came up in my early youth in a public housing project that had all the pathologies one has come to associate with that form of social organization. Later, in my coming of age days we lived in a tiny, very tiny, single family house but I was not prepared for this. All that I can say about my feelings at the time was that I would be more than willing to crawl on all fours to get back to my crummy old growing up homestead rather than fight the dread of this place.
Fortunately Angelica’s kin (second cousin), Annadeene, husband and two kids all at about age twenty, lived further down the road, out of town, in a trailer camp which the husband, Fred, had expanded so that it had the feel of a small country house. Most importantly it had indoor plumbing and a spare room where Angelica and I could sleep and put our stuff. Fred, as I recall, was something of a skilled mechanic (coal equipment mechanic) who worked for a firm that was indirectly connected to the Eastern Kentucky coal mines.
This Prestonsburg, as you can imagine, in the 1960s was nothing but one of a thousand such towns that I had (and have) passed through. A main street with a few essential stores, some boarded up retail space and then you are out of town. Then hardly worth, and maybe now too, putting a strip mall into. Moreover, Route 7 as it turned into Route 23 heading into Prestonsburg and then further down turned into nothing but an old country, pass at your own risk, country road about where Angelica’s cousin lived. What I am trying to get at though is that although these people were in the 20th century they were somewhat behind the curve. This is, as it probably was in my father’s time, patriotic country, country where you did your military service came home, worked, if you could find it, got married and raised a family. Just in tougher circumstances than elsewhere.
I understood that part. What I did not understand then, and am still somewhat confused about, is the insularity of the place. The wariness, serious wariness, of strangers even of strangers brought to the hills and hollows by kin. I was not well received at least first, and I still am not quite sure if I ever was, by Angelica’s kin and I suppose if I thought about it while they had heard of “hippies” (every male with beard, long hair, and jeans was suspected of belonging to that category) Prestonsburg was more like something from Merle Haggard’s Okie From Muskogee lyrics than Haight-Ashbury. Angelica kept saying that I would grow on them (like I did on her) but I knew, knew down deep that we had best get out of there. I kept pressing the issue but she refused to listen to any thoughts of our leaving until after Saturday night’s barn dance. After all Fred and Annadeene had specially invited us to go with them. We could leave Sunday morning but not before. Christ, a hillbilly hoe-down.
Probably about twenty years ago I would have felt no compulsion to go into anything but superficial detail about this barn dance. Today though I do. Otherwise this scene lacks completeness. I will say that I have, twenty years ago or now, a very clear picture of Angelica being fetching for this dance. All her feminine wiles got a workout that night. What I can’t remember is what she wore or how she wore her hair (up, I think) but the effect on me (and the other guys) was calculated to make me glad, glad as hell, that we stayed for this thing. What I can remember vividly though is that this barn dance actually took place in a barn, just a plain old ordinary barn that had been used in this area for years (according to the oldsters since back in the 1920s) for the periodic dances that filled up the year and broke the monotony of the mountain existence. The old faded red-painted barn, sturdily build to withstand the mountain winds and containing a stage for such occasions was something out of a movie, some movie that you have seen, so you have some idea of what it was like even if you have never been within a hundred miles of a barn.
Moreover the locals had gone to some effort to decorate the place, provide plenty of refreshments and use some lighting to good effect. What was missing was any booze. This was a “dry” county then (and maybe still is) but not to worry wink, wink there was plenty of “white lightning” around out in the makeshift dirt parking lot where clusters of good old boys hovered around certain cars whose owners had all you needed. Just bring your own fixings. After we had checked out the arrangements in the barn and Annadeene had introduced us to her neighbors Fred tapped me on the shoulder and “hipped” me to the liquor scene. We went outside. Fred talked quietly to one of the busy car owners and then produced a small jar for my inspection. “Hey, wait,” he said “you have to cut that stuff a little with some water if you are not used to it.” I took my jar, added some water, and took a swig. Jesus Christ, I almost fell down the stuff was so powerful. Look, I used to drink whiskey straight up in those days, or I thought I drank whiskey straight up but after one swig, one swig, my friends, I confess I was a mere teetotaler. Several minutes later we went back inside and I nursed, literally nursed, that jar for the rest of the night. But you know I got “high” off it and was in good spirits. So good that I started dancing with Angelica once the coterie of banjo players, fiddlers, guitarists and mandolin players got finished warming up. I am not much of a dancer under the best of circumstances but, according to her, I did okay that night.
Hey, you’d expect that the music was something out of the Grand Ole Opry, some Hee-Haw hoe-down stuff, some Arkansas Jamboree hokum, right? Forget that. See back in the mountains, at least in the 1960s mountains, they did not have access to much television or sheet music or other such refinements. What they played they learned from mama and papa, or some uncle who got it from god knows where. It’s all passed down from something like time immemorial and then traced back to the old county, the British Isles mainly. Oh sure there was a “square” hoe-down thing or two but what I heard that night was something out of the mountain night high-powered eerie winds as they rolled down the hills and hollows (hollers, if you are from there). Something that spoke of hard traveling first from the old country when luck ran out there, then from the east coast of America when that got too crowded and just sat down when it hit those grey-blue mountains, or maybe, although I never asked (and under the circumstances would not have dared to ask) formed their version of the blue-pink great American West night, and this is as far as they got, or cared to go.
Some of this music I knew from my folk experiences in Boston and Cambridge earlier in the 1960s when everybody, including me, was looking for the roots of folk music. Certainly I knew Come All Ye Fair and Tender Ladies when the band played it instrumentally. That was one of the first songs, done by gravelly-voiced Dave Van Ronk, I heard on the folk radio station that I listened to. But, see, back in those early days that stuff, for the most part, was too, well you know, too my father’s music for me to take seriously. Bob Dylan was easier to listen to for a message that “spoke” to me. But this night I thrilled to hear real pros going one-on-one to out-fiddle, out-banjo, out-mandolin, out, out-any instrument each other in some mad dash to appease the mountain nymphs, or whatever or whoever was being evoked to keep civilization away from the purity of the music. That night was as close as I got to my roots, and feeling good about those roots, and also as close as I got to Angelica. I could go on and give examples that you could go check out on YouTube and listen to but this is one of those moments you had to be there, okay.
About 12:30 or one o’clock the dance broke up, although as we headed down the rutted, jagged street we could still hear banjos and fiddles flailing away to see who really was “king of the hill.” Angelica said she was glad that we stayed, and I agreed. She also said that, yes, I was right; it was time to head west. She said it in such a way that I felt that she could have been some old time pioneer woman who once she recognized that the land was exhausted knew that the family had to pull up stakes and push on. It was just a matter of putting the bundles together and saying goodbye to the neighbors left behind. Needless to say old resource road companion Angelica, sweet, fetching Angelica put that fetchiness to good use and had us lined up for a ride from another Eddie truck driver who, if he was sober enough, was heading out with a load at 6:00 AM to Winchester just outside Lexington from where we could make better connections west. 6:00 AM, are you kidding? I am still wearing about eight pound of that white lightning, or whatever it was. Angelica merely pointed out in her winsome, fetching way that nobody forced me to drink that rotgut (her word) liquor when softer refreshments had been available inside. Touché, 6:00 AM it is.
Dog tired, smelling of a distillery, or some old time hardware store (where the white lightning ingredients probably came from) Angelica and I laid our heads down to get a few hours sleep. Gently she nuzzled up to my side (how she did it through the alcoholic haze I do not know) and gave every indication that she wanted to make love. Now we are right next door to the two unnamed sleeping children, sleeping the sleep of the just, and as she gets more aggressive we have to be, or we think we have to be, more quiet. No making the earth under the Steubenville truck stop motel cabin shake this night. And, as we talked about it on the road later, that was not what was in her mind. She just wanted to show, in a very simple way, that she appreciated that I had stayed, that I had been wise enough to figure out how long we should stay, and that, drunk or sober, I would take her feelings into account. Not a bad night’s work. And so amid some low giggles we did our exploration. Oh, here is the part that will tell you more than a little about Angelica. She also wanted to please me this night because she did not know, given the vagaries of the road, when we would be able to do it again. Practical girl.
In the groggy, misty, dark before dawn, half awake, no quarter awake night Angelica tapped me to get up. We quickly packed, she ate a little food (I could barely stand never mind do something as complicated as eat food), and we made our goodbyes, genuine this morning by all parties. As we went out the front trailer door and headed up the road to the place where Eddie had said to meet him I swear, I swear on all the dreams of whatever color that I have ever had, that the background mountains that were starting to take form out of the dark started to play, and to play like that music I heard last night from those demon fiddlers and banjo players. I asked, when we met Eddie, who was only a few minutes late, and who looked and felt (as he told me) worst that I did (except that he proudly stated that he was used to it, okay Eddie) if those musicians were still at it over at that old devil of a red barn. “No,” he said. “Where is that music coming from then?” I said. Old Eddie (backed by Angelica) said “What music?” That angel music I said. Eddie just looked bemused as he revved that old truck engine up and we hit the road west.
Several years ago I was half-listening to some music, some background eerily haunting mountain music coming from a folk radio station when I had the strangest feeling that I had heard the tune before. I puzzled over it sporadically for a few days and then went to the local library to see if they had some mountain music CDs. They did and I began on that date a feverish reaquaintance with this form of music that I have occasionally reviewed here, especially the various Carter Family combinations. I, however, never did find out the name of that song.
And in a sense it has not name. It was the music from that old mountain wind as it trailed down the hills and hollows that I heard that last night in Prestonsburg. See here is what you didn’t know as you read all this stuff, and I only half knew it back then. I had been in Kentucky before that trip down from Steubenville, Ohio with sweet Angelica. No, not the way you think. My parents, shortly after they were married and after my father got out of the service, took a trip back to his home in Hazard so his family could meet his bride, or maybe just so he could show her off. They stayed for some period of time, I am not sure exactly how long, but the long and short of it is, that I was conceived and was fussing around in my mother’s womb while they were there. So see, it was that old mountain wind calling me home, calling me to my father’s roots, calling me to my roots as I was aimlessly searching for that blue-pink great American West night. Double thanks, Angelica.
The scene below stands (or falls) as a moment in support of that eternal search mentioned in the headline .
Scene Five: The Siren Call Of The Mountain Wind Song In The Search For The Blue- Pink Great American West Night
Hey, not every aspect of the 1960s blue-pink night was a search for some kind of transcendence. Mostly it was that, and its glow has kept a few of us warm through many a desperate dark, cold night since. But sometimes it was running away from the past, from roots, or maybe better, from rooted-ness. Or just plain old running away from what lurked ahead, and ahead did not seem as good as the road, the road with all its troubles. For those who have read the previous scene, the scene where I got stuck down in a Steubenville, Ohio 1969 truck stop diner and got “lucky” finding a woman friend to share the road with, you know at the end of that episode we were heading out, or trying to head out West. For those who have not read that scene let me introduce my new lady friend, Angelica. Angelica, who, as fate would have it, was working in that diner truck stop where I got stuck and happened to think I was “nice” and after a little of this and that decided that her search for meaning in her young life entailed accompanying me on the road west. Whoa! In any case there she was walking beside me as we tried to hitch a ride from one of the rigs idling at the stop. If you want to know the details of the “how come” of our walking together just now go read that last scene, otherwise I will try to fill you in as we go along.
In the process of getting you filled in, let’s get one thing clear. When you were on the road, on the 1960s hitchhike road, and trying to get across the country the rules, the rules of the road, were a little different than the rules in workaday life. Your take on life and your, usually, transient relationships with passing strangers, male or female, got a little twisted. Not necessarily in a bad way, but twisted. I was pleased, pleased beyond belief, as least privately, to have winsome, fetching Angelica along. As I mentioned before in those hitchhike days it was always easier to get rides when you had a female companion, and one with good legs and a good shape, a shape that drivers could notice as they sped by was a plus. Maybe, thinking it was a mirage anyway, not every benny high, moony, overstretched transcontinental truck driver, running overweight anyway, would put on the airbrakes for her on the Interstate at eighty miles an hour. But those young, slower lane sedan drivers would slam on the brakes, and gladly. Ya, I know now it is not cool, nor should it be, to be using a woman as a “decoy” in that way but that was the way it was then “on the road.”
Now, if you don’t know, meaning you haven’t read the previous scenes, I, by this time, had been periodically crossing the country for some time in search of …... well, in search of something because just now, some forty years later, I am getting just a little weary of calling it the blue-pink night but this was Angelica’s whimsical maiden voyage. Angelica, was, moreover, pretty naïve about life and clueless about the road having just a few weeks earlier left home and hearth in cozy mid-country Muncie, Indiana. (Don’t tell me all about the famous Lynd sociological study of squaretown, oops, I mean, Middletown, that used that town as its sample back in the 1920s I already mentioned that before.) Therefore she was crushed beyond my comprehension, as we walked closer to the idling trucks on the other side of the diner, when I mentioned to her that the small suitcase (neatly packed) she was carrying was not a good road item compared to a nice fungible knapsack for when we had to do some walking between rides. I do not know, and I never found out, whether the look, not the nice sly, coquettish look that she greeted me with early in our “courtship” at the diner and that hooked me, but some volcanic devilish look when I mentioned that to her the fact that she was going to have to abandon that suitcase or that the “road”, the real hitchhike road meant some walking. Later, and not much later at that, she saw my point about the suitcase, but that does not erase that look from memory’s eye.
Nor was that little episode the end of out little road “adjustments.” In the few weeks that Angelica had been working long hours at the diner she served many of the truckers whose rigs were idling in the truck stop rest area we were cruising for rides. So, naturally, she tried to find out where some of those that she knew were heading. This day, they are heading mainly east, or anyway not west. Finally, she ran into one burly teamster, Eddie, who was heading down Route 7 along the Ohio River to catch Interstate 64 further down river and then across through to Lexington, Kentucky. Angelica was thrilled because, as it turned out, she had kin (her term, okay), a cousin or something, down in Prestonsburg, Kentucky whom she hadn’t seen in a while and where we could stay for a few days and take in the mountain air (her idea of rest, mine then and now, was strictly ocean breezes, thank you). I tried, tried desperately, without being obnoxious about it, to tell her that heading south was not going to get us to the West very easily. She would have none of it, and she rightly said, that we were in no rush anyway and what was wrong with a little side trip to Kentucky anyway. Well, I suppose in the college human nature course, Spat-ology 101, if there was such a course then, and they taught it, I should have had enough sense to throw in the towel. After all this was Angelica’s first, now seriously, whimsical venture out on the road. And I did, in the end, throw in the towel, except not for the reason that you think.
What Angelica didn’t know until later, and you didn’t know until now, was that I was deathly afraid of going to Kentucky. See, I had set myself up to the world as, and was in fact in my head, a Yankee, an Oceanside Yankee, if you like. I was born in Massachusetts and have the papers to prove it, but on those papers there is an important fact included. My father’s place of birth was Hazard, Kentucky probably not more than fifty to one hundred miles away from Prestonsburg. He was born down in the hills and hollows of mining country, coal mining country, made famous in song and legend. And also made infamous (to me) by Michael Harrington’s Other America which described in detail the plight of Appalachian whites, my father’s people. And also, as a result of the publicity about the situation down there, the subject in my early 1960s high school of a clothing drive to help them out. My father left the mines when World War II started, enlisted in the Marines, saw his fair share of battles in the Pacific, got stationed before discharge at a Naval Depot in Massachusetts and never looked back. And see I never wanted him to look back. That’s the way it was back then, make of it what you will. Sure, now, among other things, I can thank winsome, head-strong Angelica for making that move, but then, well, like I said I threw in the towel, but I was not happy about it. Not happy at all.
Actually the ride down Route 7 was pretty uneventful and, for somebody who did not feel comfortable looking at trees and mountains, some of the scenery was pretty breath-taking. That is until we started getting maybe twenty miles from Prestonsburg and the air changed, the scenery changed, and the feel of the social milieu changed. See we were getting in the edges of coal country, not the serious “Bloody Harlan” stuff of legend but the older, scrap heap part that had been worked over, and “worked out” long along. The coal bosses had taken the earth’s assets and left the remnants behind to foul the air and foul the place.
But, mostly, and here is where I finally understood why my father took his chances in World War II and also why he never looked back, shacks. Nothing but haphazardly placed, unpainted shacks, hard-scrabble patched roofs just barely covering them. With out-houses, out-houses can you believe that in America in the 1960s. And plenty of kids hanging out in the decidedly non-manicured front yards waiting… well, just waiting. Look, I came up in my early youth in a public housing project that had all the pathologies one has come to associate with that form of social organization. Later, in my coming of age days we lived in a tiny, very tiny, single family house but I was not prepared for this. All that I can say about my feelings at the time was that I would be more than willing to crawl on all fours to get back to my crummy old growing up homestead rather than fight the dread of this place.
Fortunately Angelica’s kin (second cousin), Annadeene, husband and two kids all at about age twenty, lived further down the road, out of town, in a trailer camp which the husband, Fred, had expanded so that it had the feel of a small country house. Most importantly it had indoor plumbing and a spare room where Angelica and I could sleep and put our stuff. Fred, as I recall, was something of a skilled mechanic (coal equipment mechanic) who worked for a firm that was indirectly connected to the Eastern Kentucky coal mines.
This Prestonsburg, as you can imagine, in the 1960s was nothing but one of a thousand such towns that I had (and have) passed through. A main street with a few essential stores, some boarded up retail space and then you are out of town. Then hardly worth, and maybe now too, putting a strip mall into. Moreover, Route 7 as it turned into Route 23 heading into Prestonsburg and then further down turned into nothing but an old country, pass at your own risk, country road about where Angelica’s cousin lived. What I am trying to get at though is that although these people were in the 20th century they were somewhat behind the curve. This is, as it probably was in my father’s time, patriotic country, country where you did your military service came home, worked, if you could find it, got married and raised a family. Just in tougher circumstances than elsewhere.
I understood that part. What I did not understand then, and am still somewhat confused about, is the insularity of the place. The wariness, serious wariness, of strangers even of strangers brought to the hills and hollows by kin. I was not well received at least first, and I still am not quite sure if I ever was, by Angelica’s kin and I suppose if I thought about it while they had heard of “hippies” (every male with beard, long hair, and jeans was suspected of belonging to that category) Prestonsburg was more like something from Merle Haggard’s Okie From Muskogee lyrics than Haight-Ashbury. Angelica kept saying that I would grow on them (like I did on her) but I knew, knew down deep that we had best get out of there. I kept pressing the issue but she refused to listen to any thoughts of our leaving until after Saturday night’s barn dance. After all Fred and Annadeene had specially invited us to go with them. We could leave Sunday morning but not before. Christ, a hillbilly hoe-down.
Probably about twenty years ago I would have felt no compulsion to go into anything but superficial detail about this barn dance. Today though I do. Otherwise this scene lacks completeness. I will say that I have, twenty years ago or now, a very clear picture of Angelica being fetching for this dance. All her feminine wiles got a workout that night. What I can’t remember is what she wore or how she wore her hair (up, I think) but the effect on me (and the other guys) was calculated to make me glad, glad as hell, that we stayed for this thing. What I can remember vividly though is that this barn dance actually took place in a barn, just a plain old ordinary barn that had been used in this area for years (according to the oldsters since back in the 1920s) for the periodic dances that filled up the year and broke the monotony of the mountain existence. The old faded red-painted barn, sturdily build to withstand the mountain winds and containing a stage for such occasions was something out of a movie, some movie that you have seen, so you have some idea of what it was like even if you have never been within a hundred miles of a barn.
Moreover the locals had gone to some effort to decorate the place, provide plenty of refreshments and use some lighting to good effect. What was missing was any booze. This was a “dry” county then (and maybe still is) but not to worry wink, wink there was plenty of “white lightning” around out in the makeshift dirt parking lot where clusters of good old boys hovered around certain cars whose owners had all you needed. Just bring your own fixings. After we had checked out the arrangements in the barn and Annadeene had introduced us to her neighbors Fred tapped me on the shoulder and “hipped” me to the liquor scene. We went outside. Fred talked quietly to one of the busy car owners and then produced a small jar for my inspection. “Hey, wait,” he said “you have to cut that stuff a little with some water if you are not used to it.” I took my jar, added some water, and took a swig. Jesus Christ, I almost fell down the stuff was so powerful. Look, I used to drink whiskey straight up in those days, or I thought I drank whiskey straight up but after one swig, one swig, my friends, I confess I was a mere teetotaler. Several minutes later we went back inside and I nursed, literally nursed, that jar for the rest of the night. But you know I got “high” off it and was in good spirits. So good that I started dancing with Angelica once the coterie of banjo players, fiddlers, guitarists and mandolin players got finished warming up. I am not much of a dancer under the best of circumstances but, according to her, I did okay that night.
Hey, you’d expect that the music was something out of the Grand Ole Opry, some Hee-Haw hoe-down stuff, some Arkansas Jamboree hokum, right? Forget that. See back in the mountains, at least in the 1960s mountains, they did not have access to much television or sheet music or other such refinements. What they played they learned from mama and papa, or some uncle who got it from god knows where. It’s all passed down from something like time immemorial and then traced back to the old county, the British Isles mainly. Oh sure there was a “square” hoe-down thing or two but what I heard that night was something out of the mountain night high-powered eerie winds as they rolled down the hills and hollows (hollers, if you are from there). Something that spoke of hard traveling first from the old country when luck ran out there, then from the east coast of America when that got too crowded and just sat down when it hit those grey-blue mountains, or maybe, although I never asked (and under the circumstances would not have dared to ask) formed their version of the blue-pink great American West night, and this is as far as they got, or cared to go.
Some of this music I knew from my folk experiences in Boston and Cambridge earlier in the 1960s when everybody, including me, was looking for the roots of folk music. Certainly I knew Come All Ye Fair and Tender Ladies when the band played it instrumentally. That was one of the first songs, done by gravelly-voiced Dave Van Ronk, I heard on the folk radio station that I listened to. But, see, back in those early days that stuff, for the most part, was too, well you know, too my father’s music for me to take seriously. Bob Dylan was easier to listen to for a message that “spoke” to me. But this night I thrilled to hear real pros going one-on-one to out-fiddle, out-banjo, out-mandolin, out, out-any instrument each other in some mad dash to appease the mountain nymphs, or whatever or whoever was being evoked to keep civilization away from the purity of the music. That night was as close as I got to my roots, and feeling good about those roots, and also as close as I got to Angelica. I could go on and give examples that you could go check out on YouTube and listen to but this is one of those moments you had to be there, okay.
About 12:30 or one o’clock the dance broke up, although as we headed down the rutted, jagged street we could still hear banjos and fiddles flailing away to see who really was “king of the hill.” Angelica said she was glad that we stayed, and I agreed. She also said that, yes, I was right; it was time to head west. She said it in such a way that I felt that she could have been some old time pioneer woman who once she recognized that the land was exhausted knew that the family had to pull up stakes and push on. It was just a matter of putting the bundles together and saying goodbye to the neighbors left behind. Needless to say old resource road companion Angelica, sweet, fetching Angelica put that fetchiness to good use and had us lined up for a ride from another Eddie truck driver who, if he was sober enough, was heading out with a load at 6:00 AM to Winchester just outside Lexington from where we could make better connections west. 6:00 AM, are you kidding? I am still wearing about eight pound of that white lightning, or whatever it was. Angelica merely pointed out in her winsome, fetching way that nobody forced me to drink that rotgut (her word) liquor when softer refreshments had been available inside. Touché, 6:00 AM it is.
Dog tired, smelling of a distillery, or some old time hardware store (where the white lightning ingredients probably came from) Angelica and I laid our heads down to get a few hours sleep. Gently she nuzzled up to my side (how she did it through the alcoholic haze I do not know) and gave every indication that she wanted to make love. Now we are right next door to the two unnamed sleeping children, sleeping the sleep of the just, and as she gets more aggressive we have to be, or we think we have to be, more quiet. No making the earth under the Steubenville truck stop motel cabin shake this night. And, as we talked about it on the road later, that was not what was in her mind. She just wanted to show, in a very simple way, that she appreciated that I had stayed, that I had been wise enough to figure out how long we should stay, and that, drunk or sober, I would take her feelings into account. Not a bad night’s work. And so amid some low giggles we did our exploration. Oh, here is the part that will tell you more than a little about Angelica. She also wanted to please me this night because she did not know, given the vagaries of the road, when we would be able to do it again. Practical girl.
In the groggy, misty, dark before dawn, half awake, no quarter awake night Angelica tapped me to get up. We quickly packed, she ate a little food (I could barely stand never mind do something as complicated as eat food), and we made our goodbyes, genuine this morning by all parties. As we went out the front trailer door and headed up the road to the place where Eddie had said to meet him I swear, I swear on all the dreams of whatever color that I have ever had, that the background mountains that were starting to take form out of the dark started to play, and to play like that music I heard last night from those demon fiddlers and banjo players. I asked, when we met Eddie, who was only a few minutes late, and who looked and felt (as he told me) worst that I did (except that he proudly stated that he was used to it, okay Eddie) if those musicians were still at it over at that old devil of a red barn. “No,” he said. “Where is that music coming from then?” I said. Old Eddie (backed by Angelica) said “What music?” That angel music I said. Eddie just looked bemused as he revved that old truck engine up and we hit the road west.
Several years ago I was half-listening to some music, some background eerily haunting mountain music coming from a folk radio station when I had the strangest feeling that I had heard the tune before. I puzzled over it sporadically for a few days and then went to the local library to see if they had some mountain music CDs. They did and I began on that date a feverish reaquaintance with this form of music that I have occasionally reviewed here, especially the various Carter Family combinations. I, however, never did find out the name of that song.
And in a sense it has not name. It was the music from that old mountain wind as it trailed down the hills and hollows that I heard that last night in Prestonsburg. See here is what you didn’t know as you read all this stuff, and I only half knew it back then. I had been in Kentucky before that trip down from Steubenville, Ohio with sweet Angelica. No, not the way you think. My parents, shortly after they were married and after my father got out of the service, took a trip back to his home in Hazard so his family could meet his bride, or maybe just so he could show her off. They stayed for some period of time, I am not sure exactly how long, but the long and short of it is, that I was conceived and was fussing around in my mother’s womb while they were there. So see, it was that old mountain wind calling me home, calling me to my father’s roots, calling me to my roots as I was aimlessly searching for that blue-pink great American West night. Double thanks, Angelica.
Friday, December 10, 2010
**Out In The Be-Bop Night- After The Last Dance- "Midnight Cryin’ Time" –A CD Review
CD Review
Midnight Cryin’ Time: Teen Angst Classics From The Rock ‘n’ Roll Era, various artists, 3-CD set, Sanctuary records Group, 2003
Come on now, do you really expect me to pass up the opportunity to review a CD set with that title after all the ink I have spilled over the past few years in this space going on and on about various aspects of teenage life, teenage alienation and teenage angst in the 1950s and early 1960s, the time of my own coming of age. Of course not, this thing is like manna from heaven and came my way via a book sale at the local library. I had to pick it up at any cost, if only to be able to use the above lead-in.
That said, what I want to discuss is the aftermath of the school dance, or those lonely nights when there were no schools dances. After all how many dances can you have in a school year. How many times can you ask, ask pretty please like, certain younger teachers on the faculty to, wink, wink, chaperon these things before they go ballistic on you. And how about those other teen social situations between dances then (and now, maybe, except the communications technology is different). For example; being stood up for a date; or when that certain he or she did not call; or that certain he or she had another date; or that certain "unto death" friend of yours took that certain he or she away from you; or when that certain he or she said no, no for any number of things but you know the real “no”, right?; or, finally, the subject of this CD that midnight cryin’ time when something he or she, did or did not do, or did or did not say, or that he or she forgot to remember, and so on that seems to be the umbrella that these three discs focus on.
So what is the demographic that this CD compilation is being pitched to, aside from the obvious usual suspects, the AARP crowd. Well that's simple. Any one who has been wounded in love’s young battles; any one who has longed for that he or she to come through the door, late or not; anyone that has been on a date that did not work out, or been stranded on a date that has not worked out; anyone who has had to submit to being pieced off with car hop drive-in food; anyone who has gotten a “Dear John” letter, or its equivalent; anyone who has been jilted by that certain he or she; anyone who has been turned down for that last school dance from that certain he or she that you counted on to make your up until then lame evening; anyone who has waited endlessly for the telephone (now iphone, etc.,okay, for the younger set who may read this) to ring to hear that certain voice; and, especially those hes and she who has shed those midnight tears for youth's lost love. In short, everybody except those few “most popular “ types who the rest of us will not shed one tear over, or the nerds who didn’t count (or care) anyway.
Okay, that is the big build-up and usually at the end of these things, these oldies review things, I give my choices for the tunes that stick out. Well, aside from providing a little fodder for this entry there is not one damn song on this messed-up thing that I can, or would, recommend. It seems impossible that a 3-CD set of old time rock and roll music would provide nothing more than a….headache after I spent my short, sweet life listening to it one afternoon. Hoping, hoping against hope that there would be one song I could listen to that I didn’t want upon hearing get up and throw the whole thing out the window. May, just maybe, that is why some perverted AARPer “donated” this beauty to the book sale. I want that person’s e-mail address pronto as someone has some midnight crying of his or her own to do.
Note: Before anyone hollers at me that Marcie Blane, Eddie Cochran (whose work I am going to write a review on soon), and a few other well-known rockers are on this compilation I know that. The material of theirs that is presented here though is the B (or C or D ) side of their better known work. I rest my case.
Midnight Cryin’ Time: Teen Angst Classics From The Rock ‘n’ Roll Era, various artists, 3-CD set, Sanctuary records Group, 2003
Come on now, do you really expect me to pass up the opportunity to review a CD set with that title after all the ink I have spilled over the past few years in this space going on and on about various aspects of teenage life, teenage alienation and teenage angst in the 1950s and early 1960s, the time of my own coming of age. Of course not, this thing is like manna from heaven and came my way via a book sale at the local library. I had to pick it up at any cost, if only to be able to use the above lead-in.
That said, what I want to discuss is the aftermath of the school dance, or those lonely nights when there were no schools dances. After all how many dances can you have in a school year. How many times can you ask, ask pretty please like, certain younger teachers on the faculty to, wink, wink, chaperon these things before they go ballistic on you. And how about those other teen social situations between dances then (and now, maybe, except the communications technology is different). For example; being stood up for a date; or when that certain he or she did not call; or that certain he or she had another date; or that certain "unto death" friend of yours took that certain he or she away from you; or when that certain he or she said no, no for any number of things but you know the real “no”, right?; or, finally, the subject of this CD that midnight cryin’ time when something he or she, did or did not do, or did or did not say, or that he or she forgot to remember, and so on that seems to be the umbrella that these three discs focus on.
So what is the demographic that this CD compilation is being pitched to, aside from the obvious usual suspects, the AARP crowd. Well that's simple. Any one who has been wounded in love’s young battles; any one who has longed for that he or she to come through the door, late or not; anyone that has been on a date that did not work out, or been stranded on a date that has not worked out; anyone who has had to submit to being pieced off with car hop drive-in food; anyone who has gotten a “Dear John” letter, or its equivalent; anyone who has been jilted by that certain he or she; anyone who has been turned down for that last school dance from that certain he or she that you counted on to make your up until then lame evening; anyone who has waited endlessly for the telephone (now iphone, etc.,okay, for the younger set who may read this) to ring to hear that certain voice; and, especially those hes and she who has shed those midnight tears for youth's lost love. In short, everybody except those few “most popular “ types who the rest of us will not shed one tear over, or the nerds who didn’t count (or care) anyway.
Okay, that is the big build-up and usually at the end of these things, these oldies review things, I give my choices for the tunes that stick out. Well, aside from providing a little fodder for this entry there is not one damn song on this messed-up thing that I can, or would, recommend. It seems impossible that a 3-CD set of old time rock and roll music would provide nothing more than a….headache after I spent my short, sweet life listening to it one afternoon. Hoping, hoping against hope that there would be one song I could listen to that I didn’t want upon hearing get up and throw the whole thing out the window. May, just maybe, that is why some perverted AARPer “donated” this beauty to the book sale. I want that person’s e-mail address pronto as someone has some midnight crying of his or her own to do.
Note: Before anyone hollers at me that Marcie Blane, Eddie Cochran (whose work I am going to write a review on soon), and a few other well-known rockers are on this compilation I know that. The material of theirs that is presented here though is the B (or C or D ) side of their better known work. I rest my case.
Monday, December 6, 2010
**Out In The Be-Bop 1950s Night- In The Time Before The Rock ‘n’ Roll Jailbreak –They Shoot CD Players Don’t They-A CD Review
Click on the headline to link to a YouTube film clip of Sammy Kaye and his Orchestra performing Harbor Lights
CD Review
The 1950s: 16 Most Requested Songs, Volume II, various artists, CBS Records, 1986
Some people ask; although I am not one of them, if there was music before 1950s classic rock ‘n’ roll. Of course there was and I have taken some pains to establish the roots of rock back to Mississippi country blues, electric blues as they traveled north to the heartland industrial cities, jazz as it got be-bopped and took to swing, certainly rhythm and blues, north and south and rockabilly as it came out of the white small town South. What it owes little to, or at least I hope that it owes little to is that Tin Pan Alley/ Broadway show tune axis part of the American songbook. That seems to me a different trend and one that is reflected in this CD under review, The 1950s: 16 Most Requested Songs, which is really about the 16 most requested song before the rock jailbreak of the mid-1950s. Let’s be clear about that.
I have along the way, in championing classic rock as the key musical form that drove the tastes of my generation, the generation of ’68, contrasted that guitar-driven, drum/bass line driven sound to that of my parents’ generation, the ones who survived the Great Depression of the 1930s and fought World War II, and listened to swing, jitterbuggery things and swooned over big bands, swings bands, Frank Sinatra, the Andrews Sisters and The Mills Brothers, among others. In other words the music that, we of the generation of ’68, heard as background music around the house as we were growing up. Buddha Swings, Don’t Sit Under The Apple Tree, Rum and Coca-Cola, Paper Dolls, Tangerine, and the like. Stuff that today sounds pretty good, if still not quite something that “speaks” to me. That is not the music that is reflected in this compilation and which, I think rightly, I was ready to shoot my CD player over once I heard it as I announced in the headline.
No, this is music that reflects, okay, let’s join the cultural critics’ chorus here, the attempted vanilla-zation (if such a word can exist) of the Cold War Eisenhower (“I Like Ike”) period when people were just trying to figure out whether the Earth would survive from one day to the next. Not a time to be rocking the boat, for sure. Once things stabilized a bit though then the mad geniuses of rock could hold sway, and while parents and authorities crabbed to high heaven about it, let that rock breakout occur and not have everything wind up going to hell in a hand basket. But this music, these 16 most requested songs were what we were stuck with before then. Sure, I listened like everyone else, everyone connected to a radio, but this stuff, little as I knew then, did not “speak” to me. And unlike some of that 1940s stuff still does not “speak” to me.
Oh, you want proof. Here is one example. On this compilation Harbor Lights is done by Sammy Kaye and his Orchestra. This was cause one for wanting to get a pistol out and start aiming. Not for the song but for the presentation. Why? Well, early in his career Elvis, while he was doing his thing for Sam Phillips’ Memphis Sun Records operation, covered this song. There are a myriad of Elvis recordings during the Sun period, including compilations with outtakes and alternative recordings of this song. The worst, the absolute worst of these covers by Elvis has more life, more jump, dare I say it, more sex than the Kaye recording could ever have. And it only gets worst from there with incipient things like Frankie Lane’s I Believe, Johnny Mathis’ It’s Not For Me To Say, and Marty Robbins’ (who did some better stuff later) on A White Sports Coat (And A Pink Carnation). And you wonder why I ask whether they shoot CD players. Enough said.
*******
Harbor Lights Lyrics
(words & music by H. Williams - J. Kennedy)
I saw the harbor lights
They only told me we were parting
Those same old harbor lights
That once brought you to me.
I watched the harbor lights
How could I help it?
Tears were starting.
Good-bye to golden nights
Beside the silvery seas.
I long to hold you dear,
And kiss you just once more.
But you were on the ship,
And I was on the shore.
Now I know lonely nights
For all the while my heart keeps praying
That someday harbor lights
Will bring you back to me.
CD Review
The 1950s: 16 Most Requested Songs, Volume II, various artists, CBS Records, 1986
Some people ask; although I am not one of them, if there was music before 1950s classic rock ‘n’ roll. Of course there was and I have taken some pains to establish the roots of rock back to Mississippi country blues, electric blues as they traveled north to the heartland industrial cities, jazz as it got be-bopped and took to swing, certainly rhythm and blues, north and south and rockabilly as it came out of the white small town South. What it owes little to, or at least I hope that it owes little to is that Tin Pan Alley/ Broadway show tune axis part of the American songbook. That seems to me a different trend and one that is reflected in this CD under review, The 1950s: 16 Most Requested Songs, which is really about the 16 most requested song before the rock jailbreak of the mid-1950s. Let’s be clear about that.
I have along the way, in championing classic rock as the key musical form that drove the tastes of my generation, the generation of ’68, contrasted that guitar-driven, drum/bass line driven sound to that of my parents’ generation, the ones who survived the Great Depression of the 1930s and fought World War II, and listened to swing, jitterbuggery things and swooned over big bands, swings bands, Frank Sinatra, the Andrews Sisters and The Mills Brothers, among others. In other words the music that, we of the generation of ’68, heard as background music around the house as we were growing up. Buddha Swings, Don’t Sit Under The Apple Tree, Rum and Coca-Cola, Paper Dolls, Tangerine, and the like. Stuff that today sounds pretty good, if still not quite something that “speaks” to me. That is not the music that is reflected in this compilation and which, I think rightly, I was ready to shoot my CD player over once I heard it as I announced in the headline.
No, this is music that reflects, okay, let’s join the cultural critics’ chorus here, the attempted vanilla-zation (if such a word can exist) of the Cold War Eisenhower (“I Like Ike”) period when people were just trying to figure out whether the Earth would survive from one day to the next. Not a time to be rocking the boat, for sure. Once things stabilized a bit though then the mad geniuses of rock could hold sway, and while parents and authorities crabbed to high heaven about it, let that rock breakout occur and not have everything wind up going to hell in a hand basket. But this music, these 16 most requested songs were what we were stuck with before then. Sure, I listened like everyone else, everyone connected to a radio, but this stuff, little as I knew then, did not “speak” to me. And unlike some of that 1940s stuff still does not “speak” to me.
Oh, you want proof. Here is one example. On this compilation Harbor Lights is done by Sammy Kaye and his Orchestra. This was cause one for wanting to get a pistol out and start aiming. Not for the song but for the presentation. Why? Well, early in his career Elvis, while he was doing his thing for Sam Phillips’ Memphis Sun Records operation, covered this song. There are a myriad of Elvis recordings during the Sun period, including compilations with outtakes and alternative recordings of this song. The worst, the absolute worst of these covers by Elvis has more life, more jump, dare I say it, more sex than the Kaye recording could ever have. And it only gets worst from there with incipient things like Frankie Lane’s I Believe, Johnny Mathis’ It’s Not For Me To Say, and Marty Robbins’ (who did some better stuff later) on A White Sports Coat (And A Pink Carnation). And you wonder why I ask whether they shoot CD players. Enough said.
*******
Harbor Lights Lyrics
(words & music by H. Williams - J. Kennedy)
I saw the harbor lights
They only told me we were parting
Those same old harbor lights
That once brought you to me.
I watched the harbor lights
How could I help it?
Tears were starting.
Good-bye to golden nights
Beside the silvery seas.
I long to hold you dear,
And kiss you just once more.
But you were on the ship,
And I was on the shore.
Now I know lonely nights
For all the while my heart keeps praying
That someday harbor lights
Will bring you back to me.
Saturday, December 4, 2010
Out In The Be-Bop 1950s Night- Billie’s Fifteen Minutes of Fame
Click on the headline to link to a YouTube film clip of Bill Haley and The Comets performing Rock Around The Clock to aid a little flavor to this entry.
CD Review
The Rock ‘N’ Roll Era: 1956: Still Rockin’, various artists, Time-Life Music, 1989
I, seemingly, have endlessly gone back to my early musical roots in reviewing this Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we, we small time punk in the old-fashioned sense of that word, we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not Billie who I will talk about later, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.
Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Ya right, Ma, like Patti Page or Bob (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) Crosby and The Bobcats were supposed to satisfy our jail break cravings.
In many ways 1956 was the key year, at least to my recollection. And here is why. Elvis may have been burning up the stages, making all the teenage girls down South sweat, making slightly older women sweat and throw undergarments too, and every guy over about eight years old start growing sideburns before then but that was the year that I actually saw him on television and started be-bopping off his records. Whoa. And the same with Bill Haley and the Comets, even though in the rock pantheon they were old, almost has-been guys, by then. And Chuck Berry. And for the purposes of this particular review, James Brown, ah, sweet, please, please, please James Brown (and the Flames, of course) with that different black, black as the night, beat that my mother (and others too) would not even let in the house, and maybe not even in our whole white working class neighborhood. But remember that transistor radio and remember when rock rocked.
Of course all of this remembrance is just so much lead up to a Billie story. You know Billie, Billie from “the projects” hills. William James Bradley to be exact. I told you about him once when I was reviewing a 30th anniversary of rock film concert segment by Bo Diddley. I told the story of how he, and we, learned first hand down at the base, the nasty face of white racism in this society. No even music, and maybe particularly not even music, was excepted then from that dead of night racial divide, North or South if you really want to know. Yes, that Billie, who also happened to be my best friend, or maybe almost best friend we never did get it straight, in elementary school. Billie was crazy for the music, crazy to impress the tender young girls that he was very aware of, much more aware of than I was and earlier, with his knowledge, his love, and his respect for the music (which is where the innocent Bo Diddley imitation thing just mentioned came from although that story was later than the story I want to tell you now).
But see we were projects kids, and that meant, and meant seriously, no dough kids. No dough to make one look, a little anyway, like one of the hot male teen rock stars such as Elvis or Jerry Lee Lewis. Now this “projects” idea started out okay, I guess, the idea being that returning veterans from World War II, at least some vets like my father, needed a leg up in order to provide for their families. And low rent public housing was the answer. Even if that answer was four-family unit apartment buildings really fit for one family, one growing three boy family anyway, and no space, no space at all for private, quiet dreams. Of course by 1955, ‘56 during the “golden age” of working class getting ahead (or at least to many it must seem so now) there was a certain separation between those who had moved on to the great suburban ranch house dream land and those who were seemingly fated to end up as “the projects” fixtures, and who developed along the way a very identifiable projects ethos, a dog-eat-dog ethos if you want to know the truth. It ain’t pretty down at the base, down at the place where the thugs, drifters, grifters, and midnight sifters feed off the rough-edged working poor.
That didn’t stop Billie, or me for that matter, from having our like everybody else dreams, quiet spaced or not. In fact, Billie had during his long time there probably developed the finest honed-edge of “projects” ethos of anyone I knew, but that came later. For now, for the rock minute I want to speak of, Billie was distractedly, no beyond distraction as you will see, trying to make his big break through as a rock performer. See Billie knew, probably knew in his soul, but anyway from some fan magazine that he was forever reading that old Elvis and Jerry Lee (and many of the rockers of the day, black and white alike) were dirt poor just like us. Rough dirt poor too. Farm land, country, rural, shack, white trash, dirt poor which we with our “high style” city ways could barely comprehend.
And there was Elvis, for one, up in big lights. With all the cars, and not junkie old fin-tailed Plymouths or chromed Fords but Cadillacs, and half the girls in the world, and all of them “hot” (although we did not use that word then), or so it seemed. Billie was hooked and hooked hard on that rock star performer fantasy. It consumed his young passions. And for what purpose? If you answered to impress the girls, “the projects” girls right in front of him, hey, now you are starting to get it. And this is what this little story is about.
This was late 1956, maybe early 1957, anyway it’s winter, a cold hard winter in the projects, meaning all extra dough was needed for heat, or some serious stuff like that. But see here old Billie and I (as his assistant, or manager, it was never clear which but I was to be riding his star, no question) had no time for cold, for snow or for the no dough to get those things because what was inflaming our minds was that a teen caravan was coming to town in a few weeks. No, not to the projects, Christ no, but downtown at the high school auditorium. And what this teen caravan thing was (even though we were not officially teens and would not be so for a while) was a talent show, a big time talent show, like a junior American Bandstand television show, looking for guys and girls who could be the next teen heartthrobs. There were a lot of them in those days, those kinds of backwater talent shows and maybe now too.
This news is where two Billie things came into play so you get an idea of the kind of guy he was back then. First, one night, one dark, snowy night Billie had the bright idea than he and I should go around town and take down all the teen caravan announcement advertisements from the telephone poles and other spots where they were posted. We did, and I need say no more on the matter. Oh, except that a couple of days later, and for a week or so after that, there was a big full-page ad in the local newspaper and ads on the local radio. That’s one Billie thing and the other, well, let me back up.
When Billie got wind of the contest he went into one of his rants, a don’t mess with Billie or his idea of the moment rant and usually it was better if you didn’t, and that rant was directed first to no one else but his mother. He needed dough to get an outfit worthy of a “prince of rock” so that he could stand out for the judges. Moreover the song he was going to do was Bill Haley and The Comet’s Rock Around The Clock. I will say he knew that song cold, and the way I could tell was that at school one day he sang it and the girls went crazy. And some of the guys too. Hell, girls started following old Billie around. He was in heaven (honest, I on the other hand, was indifferent to them, or their charms just then). So the thought that he might win the contest was driving him mad (that same energy would be used later with less purpose but that story is for another day)
Hell, denim jeans, sneakers, and some old hand-down ragamuffin shirt from an older brother ain’t going to get anyone noticed, except maybe to be laughed at. Now, like I said, we were no dough projects boys. And in 1956 that meant serious problems, serious problems even without a damn cold winter. See, like I said before the projects were for those who were on the down escalator in the golden age of post-World War II affluence. In short, as much as he begged, bothered and bewildered his mother there was no dough, no dough at all for the kind of sparkly suit (or at least jacket) that Billie was desperate for. Hell, he even badgered his dad, old Billie, Senior, and if you badgered old Billie then you had better be ready for some hard knocks and learn how to pick yourself up off the ground, sometimes more than once. Except this time, this time something hit Old Billie, something more than that bottle of booze or six, hard stinky-smelling booze, that he used to keep his courage and television-watching up. He told Mrs. Billie (real name, Iris) that he would spring for the cloth if she would make the suit. Whoopee! We are saved and even Billie, my Billie, had a kind word for his father on this one.
I won’t bore you with the details of Mrs. Billie’s (there you have me calling her that, I always called her Mrs. Bradley, or ma’am) efforts on behalf of Billie’s career. Of course the material for the suit came from the Bargain Center located downtown near the bus terminal. You don’t know the Bargain Center? Sure you do, except it had a different name where you lived maybe and it has names like Wal-Mart and K-Mart, etc. now. Haven’t you been paying attention? Where do you think the material came from? Brooks Brothers? Please. Now this Bargain Center was the early low rent place where I, and about half the project kids got their first day of school and Easter outfits (the mandatory twice yearly periods for new outfits in those days). You know the white shirts with odd-colored pin-stripes, a size or two too large, the black chinos with cuffs, christ with cuffs like some hayseed, and other items that nobody wanted some place else and got a second life at the “Bargie.” At least you didn’t have to worry about hand-me-downs because most of the time the stuff didn’t wear that long.
I will say that Mrs. B. did pretty good with what she had to work with and that when the coat was ready it looked good, even if it was done only an hour before the show. Christ, Billie almost flipped me out with his ranting that day. And I had seen some bad scenes before. In any case it was ready. Billie went to change clothes upstairs and when he came down everybody, even me, hell, even Old Billie was ooh-ing and ah-ing. Now Billie, to be truthful, didn’t look anything like Bill Haley. I think he actually looked more like Jerry Lee. Kind of thin and wiry, lanky maybe, with brown hair and blue eyes and a pretty good chin and face. I would say now a face that girls would go for; although I am not sure they would all swoon over him, except maybe the giggly ones.
So off we go on the never on time bus, a bus worthy of its own stories, to downtown and the auditorium, even my mother and father who thought Billie was the cat’s meow when I brought him around. Billie’s father, Old Billie of the small dreams, took a pass on going. He had a Friday night boxing match that he couldn’t miss and the couch beckoned (an argument could be made that Old Billie was a man before his time in the couch potato department). However all is forgiven him this night for his big idea, and his savior dough. We got to the school auditorium okay and Billie left us for stardom as we got in our rooting section seats. A few minutes later Billie ran up to us to tell us that he was fifth on the list so don’t go anywhere, like out for a cigarette or something.
We sat through the first four acts, a couple of guys doing Elvis stuff (so-so) and a couple of girls (or rather trios of girls) who did some serious be-bop stuff and had great harmonies. Billie, I sensed, was going to have his work cut out for him this night. Finally Billie came out, prompted the four-piece backup band to his song, and he started for the mike. He started out pretty good, in good voice and a couple of nice juke moves, but then about half way through; as he was wiggling and swiggling through his Rock Around The Clock all of a sudden one of the arms of his jacket fell off and landed in the front row. Billie didn’t miss a beat. This guy was a showman. Then the other jacket arm fell off and also went into the first row. Except this time a couple of swoony girls, girls from our school were tussling, seriously tussling, each other for it. See, they thought it was part of Billie’s act. And what they didn’t know as Billie finished up was that Mrs. Billie (I will be kind to her and not call her what Billie called her) in her rush to finish up didn’t sew the arms onto the body of the jacket securely so they were just held together by some temporary stitches.
Well, needless to say Billie didn’t win (one of those girl trios did, and rightly so, although I didn’t tell Billie that). But next day, and many next days after that, Billie had more girls hanging off his arms than he could shake a stick at. And you know maybe Billie was on to something after all because I started to notice those used-to-been scrawny, spindly-legged, pigeon-toed giggling girls, their new found bumps and curves, and their previously unremarkable winsome girlish charms, especially when Billie would give me his “castoffs.” So maybe his losing was for the best. My for the best.
CD Review
The Rock ‘N’ Roll Era: 1956: Still Rockin’, various artists, Time-Life Music, 1989
I, seemingly, have endlessly gone back to my early musical roots in reviewing this Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we, we small time punk in the old-fashioned sense of that word, we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not Billie who I will talk about later, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.
Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Ya right, Ma, like Patti Page or Bob (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) Crosby and The Bobcats were supposed to satisfy our jail break cravings.
In many ways 1956 was the key year, at least to my recollection. And here is why. Elvis may have been burning up the stages, making all the teenage girls down South sweat, making slightly older women sweat and throw undergarments too, and every guy over about eight years old start growing sideburns before then but that was the year that I actually saw him on television and started be-bopping off his records. Whoa. And the same with Bill Haley and the Comets, even though in the rock pantheon they were old, almost has-been guys, by then. And Chuck Berry. And for the purposes of this particular review, James Brown, ah, sweet, please, please, please James Brown (and the Flames, of course) with that different black, black as the night, beat that my mother (and others too) would not even let in the house, and maybe not even in our whole white working class neighborhood. But remember that transistor radio and remember when rock rocked.
Of course all of this remembrance is just so much lead up to a Billie story. You know Billie, Billie from “the projects” hills. William James Bradley to be exact. I told you about him once when I was reviewing a 30th anniversary of rock film concert segment by Bo Diddley. I told the story of how he, and we, learned first hand down at the base, the nasty face of white racism in this society. No even music, and maybe particularly not even music, was excepted then from that dead of night racial divide, North or South if you really want to know. Yes, that Billie, who also happened to be my best friend, or maybe almost best friend we never did get it straight, in elementary school. Billie was crazy for the music, crazy to impress the tender young girls that he was very aware of, much more aware of than I was and earlier, with his knowledge, his love, and his respect for the music (which is where the innocent Bo Diddley imitation thing just mentioned came from although that story was later than the story I want to tell you now).
But see we were projects kids, and that meant, and meant seriously, no dough kids. No dough to make one look, a little anyway, like one of the hot male teen rock stars such as Elvis or Jerry Lee Lewis. Now this “projects” idea started out okay, I guess, the idea being that returning veterans from World War II, at least some vets like my father, needed a leg up in order to provide for their families. And low rent public housing was the answer. Even if that answer was four-family unit apartment buildings really fit for one family, one growing three boy family anyway, and no space, no space at all for private, quiet dreams. Of course by 1955, ‘56 during the “golden age” of working class getting ahead (or at least to many it must seem so now) there was a certain separation between those who had moved on to the great suburban ranch house dream land and those who were seemingly fated to end up as “the projects” fixtures, and who developed along the way a very identifiable projects ethos, a dog-eat-dog ethos if you want to know the truth. It ain’t pretty down at the base, down at the place where the thugs, drifters, grifters, and midnight sifters feed off the rough-edged working poor.
That didn’t stop Billie, or me for that matter, from having our like everybody else dreams, quiet spaced or not. In fact, Billie had during his long time there probably developed the finest honed-edge of “projects” ethos of anyone I knew, but that came later. For now, for the rock minute I want to speak of, Billie was distractedly, no beyond distraction as you will see, trying to make his big break through as a rock performer. See Billie knew, probably knew in his soul, but anyway from some fan magazine that he was forever reading that old Elvis and Jerry Lee (and many of the rockers of the day, black and white alike) were dirt poor just like us. Rough dirt poor too. Farm land, country, rural, shack, white trash, dirt poor which we with our “high style” city ways could barely comprehend.
And there was Elvis, for one, up in big lights. With all the cars, and not junkie old fin-tailed Plymouths or chromed Fords but Cadillacs, and half the girls in the world, and all of them “hot” (although we did not use that word then), or so it seemed. Billie was hooked and hooked hard on that rock star performer fantasy. It consumed his young passions. And for what purpose? If you answered to impress the girls, “the projects” girls right in front of him, hey, now you are starting to get it. And this is what this little story is about.
This was late 1956, maybe early 1957, anyway it’s winter, a cold hard winter in the projects, meaning all extra dough was needed for heat, or some serious stuff like that. But see here old Billie and I (as his assistant, or manager, it was never clear which but I was to be riding his star, no question) had no time for cold, for snow or for the no dough to get those things because what was inflaming our minds was that a teen caravan was coming to town in a few weeks. No, not to the projects, Christ no, but downtown at the high school auditorium. And what this teen caravan thing was (even though we were not officially teens and would not be so for a while) was a talent show, a big time talent show, like a junior American Bandstand television show, looking for guys and girls who could be the next teen heartthrobs. There were a lot of them in those days, those kinds of backwater talent shows and maybe now too.
This news is where two Billie things came into play so you get an idea of the kind of guy he was back then. First, one night, one dark, snowy night Billie had the bright idea than he and I should go around town and take down all the teen caravan announcement advertisements from the telephone poles and other spots where they were posted. We did, and I need say no more on the matter. Oh, except that a couple of days later, and for a week or so after that, there was a big full-page ad in the local newspaper and ads on the local radio. That’s one Billie thing and the other, well, let me back up.
When Billie got wind of the contest he went into one of his rants, a don’t mess with Billie or his idea of the moment rant and usually it was better if you didn’t, and that rant was directed first to no one else but his mother. He needed dough to get an outfit worthy of a “prince of rock” so that he could stand out for the judges. Moreover the song he was going to do was Bill Haley and The Comet’s Rock Around The Clock. I will say he knew that song cold, and the way I could tell was that at school one day he sang it and the girls went crazy. And some of the guys too. Hell, girls started following old Billie around. He was in heaven (honest, I on the other hand, was indifferent to them, or their charms just then). So the thought that he might win the contest was driving him mad (that same energy would be used later with less purpose but that story is for another day)
Hell, denim jeans, sneakers, and some old hand-down ragamuffin shirt from an older brother ain’t going to get anyone noticed, except maybe to be laughed at. Now, like I said, we were no dough projects boys. And in 1956 that meant serious problems, serious problems even without a damn cold winter. See, like I said before the projects were for those who were on the down escalator in the golden age of post-World War II affluence. In short, as much as he begged, bothered and bewildered his mother there was no dough, no dough at all for the kind of sparkly suit (or at least jacket) that Billie was desperate for. Hell, he even badgered his dad, old Billie, Senior, and if you badgered old Billie then you had better be ready for some hard knocks and learn how to pick yourself up off the ground, sometimes more than once. Except this time, this time something hit Old Billie, something more than that bottle of booze or six, hard stinky-smelling booze, that he used to keep his courage and television-watching up. He told Mrs. Billie (real name, Iris) that he would spring for the cloth if she would make the suit. Whoopee! We are saved and even Billie, my Billie, had a kind word for his father on this one.
I won’t bore you with the details of Mrs. Billie’s (there you have me calling her that, I always called her Mrs. Bradley, or ma’am) efforts on behalf of Billie’s career. Of course the material for the suit came from the Bargain Center located downtown near the bus terminal. You don’t know the Bargain Center? Sure you do, except it had a different name where you lived maybe and it has names like Wal-Mart and K-Mart, etc. now. Haven’t you been paying attention? Where do you think the material came from? Brooks Brothers? Please. Now this Bargain Center was the early low rent place where I, and about half the project kids got their first day of school and Easter outfits (the mandatory twice yearly periods for new outfits in those days). You know the white shirts with odd-colored pin-stripes, a size or two too large, the black chinos with cuffs, christ with cuffs like some hayseed, and other items that nobody wanted some place else and got a second life at the “Bargie.” At least you didn’t have to worry about hand-me-downs because most of the time the stuff didn’t wear that long.
I will say that Mrs. B. did pretty good with what she had to work with and that when the coat was ready it looked good, even if it was done only an hour before the show. Christ, Billie almost flipped me out with his ranting that day. And I had seen some bad scenes before. In any case it was ready. Billie went to change clothes upstairs and when he came down everybody, even me, hell, even Old Billie was ooh-ing and ah-ing. Now Billie, to be truthful, didn’t look anything like Bill Haley. I think he actually looked more like Jerry Lee. Kind of thin and wiry, lanky maybe, with brown hair and blue eyes and a pretty good chin and face. I would say now a face that girls would go for; although I am not sure they would all swoon over him, except maybe the giggly ones.
So off we go on the never on time bus, a bus worthy of its own stories, to downtown and the auditorium, even my mother and father who thought Billie was the cat’s meow when I brought him around. Billie’s father, Old Billie of the small dreams, took a pass on going. He had a Friday night boxing match that he couldn’t miss and the couch beckoned (an argument could be made that Old Billie was a man before his time in the couch potato department). However all is forgiven him this night for his big idea, and his savior dough. We got to the school auditorium okay and Billie left us for stardom as we got in our rooting section seats. A few minutes later Billie ran up to us to tell us that he was fifth on the list so don’t go anywhere, like out for a cigarette or something.
We sat through the first four acts, a couple of guys doing Elvis stuff (so-so) and a couple of girls (or rather trios of girls) who did some serious be-bop stuff and had great harmonies. Billie, I sensed, was going to have his work cut out for him this night. Finally Billie came out, prompted the four-piece backup band to his song, and he started for the mike. He started out pretty good, in good voice and a couple of nice juke moves, but then about half way through; as he was wiggling and swiggling through his Rock Around The Clock all of a sudden one of the arms of his jacket fell off and landed in the front row. Billie didn’t miss a beat. This guy was a showman. Then the other jacket arm fell off and also went into the first row. Except this time a couple of swoony girls, girls from our school were tussling, seriously tussling, each other for it. See, they thought it was part of Billie’s act. And what they didn’t know as Billie finished up was that Mrs. Billie (I will be kind to her and not call her what Billie called her) in her rush to finish up didn’t sew the arms onto the body of the jacket securely so they were just held together by some temporary stitches.
Well, needless to say Billie didn’t win (one of those girl trios did, and rightly so, although I didn’t tell Billie that). But next day, and many next days after that, Billie had more girls hanging off his arms than he could shake a stick at. And you know maybe Billie was on to something after all because I started to notice those used-to-been scrawny, spindly-legged, pigeon-toed giggling girls, their new found bumps and curves, and their previously unremarkable winsome girlish charms, especially when Billie would give me his “castoffs.” So maybe his losing was for the best. My for the best.
Thursday, December 2, 2010
**Out In The Be-Bop 1960s Night- All That Glitters Is Not Gold
Click on the headline to link to a Wikipedia entry for the American short story writer, O.Henry
Markin comment:
The substance of this tale, the details of which were recently related to me, is worthy of the great American short story teller O. Henry. Or, hopefully, it will be in that ball park by the time I get done with it. O. Henry, for those who do not know, made a literary career out of short stories, stories about working people and other down and outs of society in the early 20th century and putting a little twist, ironic, sardonic or tragic on them, the stories that is, although now that I think about it maybe the people too. Probably the most famous one, The Gift Of The Magi, is, as I recall from the distant past, about a young down and out married couple at Christmas time who are so broke they can’t put two dimes together. But they are in love and love has this funny habit of making you do, well, off-hand, off-the-wall stuff, praise be. In their case they sold what was most precious to each (she, her big hair, he, his watch) in order to buy each other Christmas presents (she a chain for his watch, he a comb for her big hair). Nice twist, right? I hope I can hit that mark here:
I have spent reams of cyberspace telling one and all that I grew up and came of age in “the projects” in the 1950s American night. For those three people who do not know what “the projects” are I will just tell you they are places, public housing, good, bad or indifference, but mainly in the long, bad, at least for my family and some others that I know of, for the poor, the working poor and the drifters, grafter, and midnight sifters of the world to “make due” in. The particular one that I grew up in started out as a stepping stone, kind of a half-way house, for returning World War II veterans like my father who couldn’t afford that little white house with the picket fence of post-war dreams without some help. That was the idea anyway, if not the reality. But enough said of that, I will speak of that another time, because this is not really meant to be a “treatise” on class injustices and societal indifference but a “love story.”
The love story part, just like in O. Henry’s The Gift Of The Magi could happen to rich and poor alike, although perhaps the circumstances for the rich would work out differently. I have never been close enough to that social class and their predilections to make comment here. What I can comment on is that “projects” boys, and in the case of the subject of this story a “projects” girl, have as much right to dreams of getting out from under as anyone else. Literature is filled with tales of such escape by the timely presence of a “prince charming,” or some other good fortune. And so it transpired here.
The way that the story came to me is that our “projects” princess, Cathy, somehow caught the eye of a rich gilded youth, Robert, from the other side of town, the other side of the tracks. Apparently (I am a little sketchy on the details, but no matter) this young princeling was so smitten with his princess that he wanted to buy her expensive gifts to show his devotion. One of the first things in his seemingly endless arsenal was to present a bottle of Chanel No. 5. Not the toilet water or eau whatever stuff but the real stuff, and a big bottle as well. Not bad right? Now I don’t know much about perfume and I prefer, much prefer, not being put in a situation where I have go to a store and buy such an item but as a fellow “projects” denizen this is a young man that I would not give the air to out of hand. And if Cathy had asked my counsel I would have said the hell with poverty, go for it. But our fair working class maiden was betwixt and between on this, and we will leave her that way for a moment.
Why? Oh I “forgot” to tell the other part of the story. Oops, sorry. Seems our Cathy had another boy, a poor boy, Jimmie, who was “courting” her as well. So while our young prince was showing his love with barrels of gifts her poor boy was hard pressed to give her a simple Woolworth’s 5&10 cent store bracelet. This is definitely a “no-brainer.” Order the tuxedos and gowns for the royal wedding now. Robert and Cathy sounds right, right?
But wait just another minute. What if I told you, as was told to me at an earlier time, that that poor boy, that mad man Johnny, that cheapo bracelet giver had shown his love in another way. And suppose I told you that this is the very guy who in another story I called “bicycle boy” actually swam across a dangerous river channel, against the odds, to be with his “projects” princess. Well, now all bets are off. Throw that ne’er do well, grasping, shallow, callow gilded youth Robert to the sharks in that channel. And his cheap jack Chanel No. 5, 10, 15 or 20 too. Bicycle boy it is. And guess what, our “projects” girl, through thick and thin and in honor of that long ago flame, and his deeds, still has that bracelet snuggly wrapped around her wrist.
Markin comment:
The substance of this tale, the details of which were recently related to me, is worthy of the great American short story teller O. Henry. Or, hopefully, it will be in that ball park by the time I get done with it. O. Henry, for those who do not know, made a literary career out of short stories, stories about working people and other down and outs of society in the early 20th century and putting a little twist, ironic, sardonic or tragic on them, the stories that is, although now that I think about it maybe the people too. Probably the most famous one, The Gift Of The Magi, is, as I recall from the distant past, about a young down and out married couple at Christmas time who are so broke they can’t put two dimes together. But they are in love and love has this funny habit of making you do, well, off-hand, off-the-wall stuff, praise be. In their case they sold what was most precious to each (she, her big hair, he, his watch) in order to buy each other Christmas presents (she a chain for his watch, he a comb for her big hair). Nice twist, right? I hope I can hit that mark here:
I have spent reams of cyberspace telling one and all that I grew up and came of age in “the projects” in the 1950s American night. For those three people who do not know what “the projects” are I will just tell you they are places, public housing, good, bad or indifference, but mainly in the long, bad, at least for my family and some others that I know of, for the poor, the working poor and the drifters, grafter, and midnight sifters of the world to “make due” in. The particular one that I grew up in started out as a stepping stone, kind of a half-way house, for returning World War II veterans like my father who couldn’t afford that little white house with the picket fence of post-war dreams without some help. That was the idea anyway, if not the reality. But enough said of that, I will speak of that another time, because this is not really meant to be a “treatise” on class injustices and societal indifference but a “love story.”
The love story part, just like in O. Henry’s The Gift Of The Magi could happen to rich and poor alike, although perhaps the circumstances for the rich would work out differently. I have never been close enough to that social class and their predilections to make comment here. What I can comment on is that “projects” boys, and in the case of the subject of this story a “projects” girl, have as much right to dreams of getting out from under as anyone else. Literature is filled with tales of such escape by the timely presence of a “prince charming,” or some other good fortune. And so it transpired here.
The way that the story came to me is that our “projects” princess, Cathy, somehow caught the eye of a rich gilded youth, Robert, from the other side of town, the other side of the tracks. Apparently (I am a little sketchy on the details, but no matter) this young princeling was so smitten with his princess that he wanted to buy her expensive gifts to show his devotion. One of the first things in his seemingly endless arsenal was to present a bottle of Chanel No. 5. Not the toilet water or eau whatever stuff but the real stuff, and a big bottle as well. Not bad right? Now I don’t know much about perfume and I prefer, much prefer, not being put in a situation where I have go to a store and buy such an item but as a fellow “projects” denizen this is a young man that I would not give the air to out of hand. And if Cathy had asked my counsel I would have said the hell with poverty, go for it. But our fair working class maiden was betwixt and between on this, and we will leave her that way for a moment.
Why? Oh I “forgot” to tell the other part of the story. Oops, sorry. Seems our Cathy had another boy, a poor boy, Jimmie, who was “courting” her as well. So while our young prince was showing his love with barrels of gifts her poor boy was hard pressed to give her a simple Woolworth’s 5&10 cent store bracelet. This is definitely a “no-brainer.” Order the tuxedos and gowns for the royal wedding now. Robert and Cathy sounds right, right?
But wait just another minute. What if I told you, as was told to me at an earlier time, that that poor boy, that mad man Johnny, that cheapo bracelet giver had shown his love in another way. And suppose I told you that this is the very guy who in another story I called “bicycle boy” actually swam across a dangerous river channel, against the odds, to be with his “projects” princess. Well, now all bets are off. Throw that ne’er do well, grasping, shallow, callow gilded youth Robert to the sharks in that channel. And his cheap jack Chanel No. 5, 10, 15 or 20 too. Bicycle boy it is. And guess what, our “projects” girl, through thick and thin and in honor of that long ago flame, and his deeds, still has that bracelet snuggly wrapped around her wrist.
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