It’s never not a good time to talk the Beatles….My latest, for Sixties’ Music Secrets is up and available at the link.
Where I feel the need for a Silent Night.
To all my family, friends and followers…..
What they said:
Nov. 4, 2020
11:40 a.m.: I went to bed around 3:00 a.m. still pretty confident that Trump would win. As of now, it looks like Biden has a 90-95% chance of victory. As I said all day yesterday, when Trump looked solid, it ain’t over till it’s over…but the closer you get the less things are likely to change.
It looks like the Dems will hold the house and the Repubs will hold the Senate, though, again, things could change. The Dems perfected their long-pursued dream of Count-Votes-Until-You’re-Ahead-Then-Declare-Victory in 2018 and applied it even more effectively this time. (EX: They found 130,000 ballots in Wisconsin at 4:00 a.m. this morning and, magically, 125,000 were for Biden and, as of now, have handed him the state.)
No matter the outcome, half the population won’t accept it…and there won’t be much they can do except simmer, as Nixon voters did after 1960 and Gore and Kerry voters did after 2000 and 2004. The main takeaway, assuming Biden is elected, is that the Grand Bargain (1980’s–Republicans would take the economy; Democrats would take the culture) which precipitated the Frozen Silence (1980-2016) can now resume. Trump will have been merely an interruption.
So while, my predictions for this short-term result were mostly wrong, my prediction for the long-term fate of the U.S.A. is now back on course.
I’ll check back in if events warrant….Til then, it’s been fun!
I think we might be about five cosmic minutes away from the national media discovering that Antifa and Black Lives Matter are secretly funded by the Trump campaign. Meanwhile, no matter what happens, I plan to gas up my BB pistol (yep, it’s one of those) and dance in my underwear where the neighbors can see me.
That oughta keep ’em at bay when they come to burn my record collection. I hope so, because I’d hate for any hooligans to find out one of these things can still take your eye out at twenty paces, just like mama said.
Everybody’s been warned so CRANK IT:
My latest column at SMS is called “When Black Was White: Supper Club Soul.” You can read it here.
Next month I’ll weigh in on Blue-Eyed Soul….you know, when white was black. For now, here’s a sample of what I left out….Listen close!
Rick at SMS has just posted my latest, which is Part 2 of “By Arrangement: The Secret Weapon of 60’s Music”…or something like that. You can access it here!
I got so involved with this one I left out the record that gave me the idea in the first place! Feel free to pitch in with whatever else I forgot, here or there:
Okay, time for my (almost) monthly column for Rick’s place at Sixties’ Music Secrets. The subject this time is the art of Rock and Roll arranging in the first half of the sixties with another on the second half to follow shortly. Listening to records with a specific ear for arrangements is an old habit of mine–probably gifted to me by my choir-arranging, vocal-coaching mother–and it’s the one quality, more than any other, that first drew me to the decade’s music. It was no accident that I was pulled in by the Four Seasons and the Beach Boys...who get their due here, along with many others!
Just to whet your appetite, here’s the one that didn’t make the cut when we finally cut the selection to ten:
10) Rick Nelson Garden Party (1972)
A concept LP about the joys, perils, and traps of rock stardom from a man who had seen more sides of the story than anybody but Elvis and, like Elvis, would find the road ending in the trap of an early death. I suppose it was possible in 1972, with E and Chuck Berry also back at the top of the charts, to think there would be more hit singles like the title track and ho-hum. But there weren’t and Rick doesn’t sound like someone who took his “comeback” for granted, but suspected it was only a temporary bit of well-earned good fortune. One of the first LPs I bought, because I knew I loved the hit from the radio and because it was cheap in a cutout bin: When I found out, a few years later, that Christgau had given it a B- , it was the first sign that he and I were not exactly going to get along. And it’s greater now, when it’s no longer seemly or excusable to take it for granted, than it was then.
9) Various Artists Shagger’s Delight (1981)
A fabulous collection of “beach music,” a subset of 50’s R&B and light 60’s soul that Carolina college kids turned into their own little genre in the 70’s. This is heavy on the R&B, though the real keeper is the Kingpins’ “It Won’t Be This Way Always” from the early 60’s and a bridge to the future of a lot more than beach music.
8) Sam Cooke Live at the Harlem Square Club (1985)
Released 20 years after Cooke’s tawdry, untimely death, this is the LP that shocked everyone who hadn’t heard his gospel music. I’d heard his gospel. I wasn’t shocked. That’s probably why, although I bought it right away, it took me a long time to hear it for what it was: A sizzling live performance in front of a sympathetic black audience by one of soul’s greatest singers and master showmen. You want to know how and why his loss was felt so deeply by so many, this is the place to start.
7) Sam Cooke The Man and His Music (1986)
Which makes this the place to finish. If I just want to sing along to some Sam Cooke, I still pull 1962’s RCA Best of. But if I want to hear as much of the whole story as I can absorb in one sitting, this double-LP is better than similar length CD-only comps. His box set doesn’t have “A Change Is Gonna Come.” I know it was a rights issue at the time…but any journey that long has to end there. This one does….without leaving off anything from “Touch the Hem of His Garment” to “Everybody Loves to Cha, Cha, Cha,” along the way.
6) Various Artists A History of New Orleans Rhythm & Blues: Volume 1, 1950-1958 (1987)
Ya’ll know I like the democracy of the title–“a” not “the.” And this is the cream of that very large crop even it doesn’t have Fats Domino. The sound of his piano is all over this, even if he didn’t play a lick here (and it’s possible he played any number). What more do you need than that? Heck, the way Shirley and Lee start things off, you’d be halfway through a record of crickets chirping before you noticed anyway.
5) Cyndi Lauper True Colors (1986)
The version of “Iko, Iko” from the prior LP put me in mind of Cyndi’s brilliant use of it here so I listened to the whole thing….and was again reminded that it’s fine from beginning to end. There was a weird backlash at the time because it only had three hit singles instead of the five spun off She’s So Unusual. Because she had let the Rock side down by not becoming as popular as the Dance/Hip-Hop side’s Madonna at the last minute where those sides were anything like equal. And because it wasn’t the Greatest Album of the Decade! Funny, I thought there could only be one of those. Anyway, the singles were great, including her searing version of “What’s Going On,” (best heard here) which she fashioned as an answer record to Marvin Gaye’s where anyone else with her chops would have insisted on competing…and not even the Greatest Album of the Decade had a moment to match it segueing into an “Iko, Iko” to kill and die for.
4) Jackie Wilson The Jackie Wilson Story (1983)
My God he was great…”Reet Petite” and the rest of the early Berry Gordy-penned hits, which the Boss used to start Motown, right on through to the early 70’s. This beautifully chosen 2-LP set doesn’t miss a trick or slow down. It’s all great but my favorite is Side Two which kicks off with “Baby Workout” and then turns to his fabulous straight blues singing. The teenage Al Green got kicked out of his house because he couldn’t stop listening to this and Elvis and he redeemed himself by being the only man who could live up to either.
3) Tanya Tucker Here’s Some Love (1976)
Tanya used to keep me up nights–and I mean until the sun came up–trying to figure her out. This was the LP that proved she didn’t need either Billy Sherill or Snuff Garrett to cut monster hits, her first really adult outing. Her wild child image has been so enduring it’s easy to forget how much she contributed to the new style of Countrypolitan. This one contains a lot of hidden gems and, like many of her LPs from this period, is not on CD. Hey Bear Family, get with it. I wanna stay up all night again!
2) Gary “U.S.” Bonds Frank Guida Presents U.S. Bonds Greatest Hits (1981…I think)
If this wild ride through the swamp had been produced in New Orleans or Memphis or some other pre-qualified place it’s hard to imagine Guida, Bonds and Gene Barge not having higher profiles maybe even Hall of Fame profiles. Because it came from Norfolk, Virginia, no such luck. Too bad because it can make your day.
1) Raspberries Raspberries’ Best: Featuring Eric Carmen (1976)
I swear I didn’t plan it this way, but this set ends where it began: with a 70’s-era concept LP about rock stardom. Only this time, it’s all about the dream of getting there, with “Overnight Sensation,” the consummate lyrical and emotional expression of the ideal, resting in the middle. It’s brilliantly programmed and every time I put it on the turntable and remember how close they came without quite making it, I have to laugh to keep from crying. Other people in my generation had “punk.” I had them. It was just enough. And this stops just short of Eric Carmen going solo and sending me into a black hole of depression!
If you want to know what it was like to live through the 70’s listen to War’s great albums If you want to know what the lost possibilities of the 70’s felt like, listen to this.
…Til next time!
It only takes one.
(Orson Welles…on being remembered)
They did other good things, but when 60’s stalwarts James Drury and Honor Blackman passed away within a few days of each other last week, it was for The Virginian and Goldfinger they were principally, almost exclusively, remembered. That might have been a little unfair to their steady, consistent careers, but there you have it.
I think each deserves a slightly bigger context: Blackman wasn’t just a Bond girl, she was the Bond girl. Goldfinger was the third release in the Bond franchise. It had fabulous villains, a pulsing score, great, memorable set-pieces and Sean Connery. But the first two films had all of that…and better plots. There was a reason Goldfinger became the never-matched standard for a franchise now approaching its 60th anniversary. Blackman was the first credible actress to play opposite Connery as a love interest (Ursula Andress, the original Bond girl, had her lines dubbed because she spoke little English…the best that could be said of the rest was that they were, to a woman, no Ursula Andress).
Combining the necessary hot-to-trot factor (which Blackman had more of at 38 than ninety-five percent of beautiful women have at 22) with a knack for sardonic by-play and credible fight scenes was not as easy to pull off as she made it look. In the long decades since, only Diana Rigg, who had taken Blackman’s place in the iconic British spy series, The Avengers, managed it as well, and, while she had a better story, she didn’t have Connery. And she didn’t do it first.
The idea for an improbably gorgeous, ass-kicking femme may have sprung from the fertile imagination of Ian Fleming, but it was Honor Blackman who first embodied it for all to see. They gave her the most ridiculous of Fleming’s ridiculous names (“I’m Pussy Galore,” “But of course you are”), the furthest fetched of his far-fetched plots, and the hoary old frigid-lesbian-who-really-only-needs-to-meet-the-right-man for a character. She didn’t bat an eye. She just owned it. If you watch the first three Bond films in order you can still feel the shock when she shows up. It’s the first–and last–moment in a Bond film that lets you understand how the Brits came to rule the world for the three centuries preceding Blackman’s birth. Their failure to reproduce her in adequate numbers goes as far as anything to explain why she died in a world where her native land has become a footnote.
If James Drury were only remembered as the paragon of small town virtue and frontier decency and competence he represented so ably in Pollyanna and The Virginian it would be a fine legacy. But his “one”–the one that ensures he’ll be remembered as long as anyone cares about film–is, ironically, his nasty villain in Sam Peckinpah’s Ride the High Country.
For all of that film’s other great qualities, it’s Drury, as the leader (but not, crucially, the oldest or meanest) of a band of ornery brothers, who gives the film its edge. Had he come along a little earlier and played bad apples in the crime noirs of the 40’s and 50’s he might have a cult following to match Dan Duryea’s or even Lee Marvin’s. As it was, he settled for making a living on television. In those perilous times, no man could be blamed for that–and few had the chops to make such a transition look as natural as riding a horse.
Honorable careers, honorable lives, one indelible moment. There has never been an age when people who matched those descriptions were in abundance. Sad to lose two of our age’s best in such short order.