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Showing posts with label rock and roll. Show all posts
Showing posts with label rock and roll. Show all posts

Saturday, February 23, 2013


When The Blues Is Dues- The Byrds So You Want To Be A Rock And Roll Star

 

From The Pen Of Frank Jackman

…who knows when that sound hits the brain, or rather sounds put together to make the sway, to make the movement, and, in the end, that ferocious desire to replicate that long ago felt tribal combination. Maybe it went back to the womb, sitting, better rolling and hence a jump up on the swaying , all attuned to every stimulant, repeated back to some primeval forest dwelling, Adam and Eve time, maybe before, maybe. Or more realistically maybe back to cradle Mother Africa times, high wind-swept desert time in some Nile river flow, all bunched up against old Pharaoh’s lashes, and sing- song was the only way to keep rolling those stones up that pyramid hill. And some ancient forbear hearing that rushing river and those desert winds started swaying, started moving just a little bit different from cave times, and kept that thought embedded in all the slave ages. Or maybe, and here I speak of Billy maybe, Billy Riley from the old neighborhood, hometown Hullsville, maybe, it was just some reaction, from the womb or not, to the sounds hear in about 1943, his birth year, coming from some old wooden-faced RCA radio booming out Doris Day, Harry James,  Lena Horne, the Duke, the Count, the Inkspots, and he said, no, declared, no way, no way in hell was that his sway (although he may, or may not, have known to use that neighborhood friendly word).          

And the reason that Billy, William Riley, was saying that big “no” however he expressed it was because in the year of our lord 1955 he saw, saw live on television, all in beautiful black and white,  Mister Billy Haley and his Comets performing Rock Around The Clock (and later Elvis, and Bo, and Chuck, and Jerry Lee but Brother Haley was the ding-dong-daddy that got him swaying that ancient sway) and that settled things, settled things for one Billy Riley, at least while the dream held.  Billy Riley decided right then and there that he had his ticket out of the no dough, no girls, nowhere old town. And he almost made it, almost turned the tide, the red sea tide on old Pharaoh.     

See Billy had a pretty good voice, a pretty solid voice for a twelve year old, a little Elvis snarl and turned- up lip voice, a little be-bop be-bop Bo Diddley beat feel, a little manic Jerry Lee squeal in just the right places. Check. Billy had pretty good moves, natural untrained moves, moves that with a little help could be twisted in some sellable commodity. Check. Billy also had good looks, maybe not the haughty Elvis flip, or Jerry Lee jut jaw but good enough. Check. And Billy, in old sixth grade class, at school dances, and church concerts got the girls going, got them  going maybe too much (got them wet, sweaty, whatever, if one was to believe the talk in the dance or concert girls’ room  at intermission or at Monday morning before school girl gabs). Check. Moreover Billy was ready, more than ready, after a few successes winning contests in local talent shows (really against nothing competition except one doo wop girl three some that beat him bad but he chalked that up to them being “hot”) and after he started drawing scout attention, to sell himself to the devil, the devil’s brother, or whomever one sold out to in order to get that old neighborhood jail break-out chance. Check    

But see too something happened to Billy, happened out of the blue, when he hit thirteen, his voice changed and he started sounding like all smooth and silky like Mister Perry Como and so he was finished before he even began (although the girls still hovered around him for a while). But know this too through a troubled youth (his parents divorced, father off with some woman, heading south, and mother picking up guys, “uncle” guys, whenever she had the chance),  through a couple of scrapes with the law (a couple of off-hand gas station robberies, kid’s stuff) , through two tours in ‘Nam (and a couple of purple hearts and some other medals) , through a couple of drug addictions (reefer, sister), through a couple of bouts of homelessness (one after his first marriage fell through the floor)Billy Riley never lost that idea that he could have been a rock and roll star, could have challenged the king in all his glory. Yah, maybe it did go back to Pharaoh times...

So You Want To Be A Rock 'n' Roll Star Lyrics

by The Byrds

from The Country Bears Soundtrack

So you want to be a rock and roll star?

Then listen now to what I say.
Just get an electric guitar
Then take some time
And learn how to play.
And with your hair swung right,
And your pants too tight
It's gonna be all right.
Then it's time to go downtown
Where the agent man won't let you down.
Sell your soul to the company
Who are waiting there to sell plastic ware.
And in a week or two
If you make the charts
The girls'll tear you apart.

The price you paid for your riches and fame,
Was it all a strange game?
You're a little insane.
The money, the fame, and the public acclaim,
Don't forget who you are,
You're a rock and roll star.

Monday, April 23, 2012

Out In The 1950s Be-Bop King Records R&B Night-“Dancing With The Devil”-A You Had Better Get In Line Because Her Dance Card Is Full- A CD Review

Click on the headline to link to a YouTube film clip of Lonnie Johnson high heaven singing the classic R&B, rock and rock, bop and stroll, Tomorrow Night. Yes, Lonnie is in the house.

DVD Review

Dancing With the Devil: 25 Essential Blues Classics, various artists, King Records. 2004


Okay, okay call me Mr. Janus, call me fickle, call me, well, call me perplexed. Every time I think I have it down pat, pat as can be, about what genre “fathered” (or “mothered”) my “generation of ’68” childhood growing up absurd in the half-benighted 1950s rock and roll birth I change course. Mainly it depends on what was the last CD, last YouTube click , or last whatever other source I have filled my head with. A couple of weeks ago it was definitely those mad men swing masters like Benny Goodman and his hard, sexy sax players (and occasional clarinet per Benny swingman). A couple of days later it was definitely Joe Turner be-bopping his big snapping fingers beat on Shake, Rattle and Roll putting later Elvis and Jerry Lee renditions in the shade. Last week it was most positively either Ike Turner and his Rocket 88 or rockabilly maven Warren Smith and his Rock and Roll Ruby. This week, well, this week it is the R&B influences represented by this King Records compilation, Dancing With The Devil: 25 Essential Blues Classics. So hear me out.

Look I grew up in that red scare, cold war, atomic bomb’s going to get you so you best put your sorry little head under that wooden desk and don’t ask questions dark night made darker by being left out of the great American golden age 1950s by, well, by being working class poor. I mean real poor. The music around the house was strictly country (Hank Williams, Earl Tubbs, etc.) representing my father’s rural Appalachian roots or that 1940s Frank, Bing, Rosemary Clooney, we won the world war so our songs rule stuff blaring out of the local holey radio station. It was not until I got my first transistor radio (look that up on Wikipedia if you are clueless about what that was (or is for old fogies, maybe). Then I could pirate my way to many midnight stations in the “comfort” (three boys to a room comfort so not much) of my room. And what I got at midnight was blues, or rather R&B coming from who knows where but not Boston (usually Chicago or New York) from people who distinctly did not sound like they were from Boston.

And they weren’t. They mainly had come north from the rural South in one of the waves of black migration up river (Mississippi River, okay), got jobs in the factories, or didn’t, and played music on the side at some electrified juke joint. Those who did make good music wound up making records for all kinds of “race” labels so there was no mystery as to why I didn’t know this music from around the house. But I knew it
from then on. And I know it now.

That now leads to this King Records compilation which, no question, has many, many riffs that sound a hell of a lot like the birth of rock and roll just now. Try Lonnie Johnson’s Tomorrow Night done later by Elvis, LaVern Baker, Jerry Lee and a million others. Or what about the beat in Wynonnie Harris’ All She Wants To Do Is Rock. How about Little Esther on Aged And Mellow Blues. Not good enough-try this. Wilbert Harrison on This Women Of Mine. Or the freaking rock beat on Earl King’s Don’t Take It So Hard. Okay now for the big ammo Joe Tex’s Another Woman’s Man and Hank Ballard’s Look At Little Sister. I thought that would get your attention. But let’s cut to the chase. The Stones and Beatles (and many others from the 1960s second wave British rock invasion) were spoon-fed on R&B and blues stuff. And while this particular song by Albert King, Don’t Throw Your Love On Me So Strong (good advice, by the way) is a little too late to have been at the roots of rock it has all the guitar riffs that those later groups thrived on. So I rest my case. Unless of course next week I hear Sonny Burgess’ Red-Headed Woman. Then call be Janus.

Saturday, February 4, 2012

Not Ready For Prime Time AARP Songs- The Beatles' "When I'm Sixty-Four"

From The Archives-  Not Ready For Prime Time AARP Songs- The Beatles' "When I'm Sixty-Four"


Peter Paul Markin, North Adamsville Class Of 1964 and thus already past sixty-four, comment:

Many of my fellows from the Generation of '68 (a. k. a. baby-boomers) will be, if you can believe this, turning sixty-four this year. So be it.

When I'm Sixty-Four - The Beatles

When I get olded, loosing my hair,
Many years from now
Will you still be sending me the Valentine,
Birthday greetings, bottle of wine

If I stay out till quarter to three
Would you lock the door
Will you still need me, will you still feed me
When I'm sixty-four.

You'll be older too,
And if you say the word I could stay with you.

I could be handy mending a fuse
When your lights have gone
You can knit a sweater by the fireside
Sunday morning go for a ride

Doing the garden, digging the weeds,
Who could ask for more
Will you still need me, will you still feed me
When I'm sixty-four.

Every summer we can rent a cottage in the Isle of Wight,
if it's not too dear
We shall scrimp and save
Grandchildren on your knee
Vera, Chuck & Dave

Send me a postcard, drop me a line
Stating point of view
Indicate precisely what you mean to say
Yours sincerely, wasting away

Give me your answer, fill in a form,
Mine for evermore,
Will you still need me, will you still feed me
When I'm sixty-four.
*******
Ancient dreams, dreamed.

Ya, sometimes, and maybe more than sometimes, a frail, a frill, a twist, a dame, oh hell, let’s cut out the goofy stuff and just call her a woman and be done with it, will tie a guy’s insides up in knots so bad he doesn’t know what is what. Tie up a guy so bad he will go to the chair kind of smiling, okay maybe just half-smiling. Frank (read: future Peter Paul and a million, more or less, other guys) had it bad as a man could have from the minute Ms. Cora walked through the door in her white summer blouse, shorts, and the then de rigueur bandana holding back her hair, also white. She may have been just another blonde, very blonde, frail serving them off the arm in some seaside hash joint but from second one she was nothing but, well nothing but, a femme fatale. I swear, I swear on seven sealed bibles that I yelled, yelled through the womb or some toddler’s crib maybe, at the screen for him to get the hell out of there at that moment. But do you think he would listen, no not our boy. He had to play with fire, and play with it to the end.

Nose flattened cold against the frozen, snow falling front window “the projects” wait on better times, get a leg up, don’t get left behind in the dawning American streets paved with gold dream but for now just hang your hat dwelling, small, too small for three growing boys with hearty appetites and desires to match even then, warm, free-flow oil spigot warm, no hint of madness, or crazes only of sadness, brother kinship sadness, sadness and not understanding of time marching, relentlessly marching as he, that older brother, went off to foreign places, foreign elementary school reading, ‘riting, ‘rithmetic places and, he, the nose flattened against the window brother, is left to ponder his own place in those kind of places, those foreign-sounding places, when his time comes. If he has a time, has the time for the time of his time, in this red scare (but what knows he of red scare only brother scares), cold war, cold nose, dust particles floating aimlessly in the clogging still air night.

A cloudless day, a cloudless blasted eternal, infernal Korean War day, talk of peace, merciless truce peace and uncles coming home in the air, hot, hot end of June day laying, face up on freshly mown grass near fellowship carved-out fields, fields for slides and swings, diamonded baseball, no, friendlier softball fields the houses are too close, of gimps, glues, cooper-plated portraits of wildly-maned horses, of sweet shaded elms, starting, now that he too, that nose-flattened brother, has been to foreign places, strange boxed rooms filled with the wax and wane of learning, simple learning, in the time of his time, to find his own place in the sun but wondering, constantly wondering, what means this, what means that, and why all the changes, slow changes, fast changes, blip changes, but changes.

Nighttime fears, red-flagged Stalin-named fears, red bomb aimed right at my head unnamed shelter blast fears, named, vaguely named, Julius and Ethel Rosenberg hated stalinite jews killed fears, jews killed our catholic lord fears, and what did they do wrong to get the chair anyway fears against the cubed glass glistening flagless flag-pole rattling dark asphalt school yard night. Alone, and, and, alone with fears, and avoidance, clean, clear stand alone avoidance of old times sailors, tars, sailors’ homes AND deaths in barely readable fine- marked granite-grey lonely seaside graveyards looking out on ocean homelands and lost booty. Dead, and the idea of dead, the mystery of dead, and of sea sailor dead on mains, later stream thoughts of bitch proctoresses, some unnamed faraway crush teacher who crossed my path and such, in lonely what did he do wrong anyway prison cells, smoking, reading, writing of dinosaurs die and other laments. Dead.

Endless walks, endless one way sea street water rat-infested fear seawall walks, rocks, shells, ocean water-logged debris strewn every which way, fetid marsh smells, swaying grasses in light breezes to the right, mephitic swamps oozing mud splat stinks to the left making hard the way, the path, the symbolic life path okay, to uptown drug stores, some forgotten chain-name drug store, passing perfumes, lacquers, counter drugs, ailments cured, hurts fixed and all under a dollar, trinkets ten cents baubles, gee-gads, strictly gee-gads, grabbing, two-handed grabbing, heist-stolen valentines, a metaphor in the making, ribbon and bow ruby-red valentine night bushel, signed, hot blood-signed, weary-feet signed, if only she, about five candidates she, later called two blondes, two brunettes, and a red-head, sticks all, no womanly shape to tear a boy-man up, would give a look his way, his look, his newly acquired state of the minute Elvis-imitation look, on endless sea streets, the white-flecked splash inside his head would be quiet. Man emerging out of the ooze, and hope.


Walks, endless waiting bus stop, old late, forever late, story of a young boy’s life late, diesel-fueled, choking fumed non-stop bus stop walks, no golden age car for jet moves in American Dream wide-fin , high tech automatic drive nights, walks, walks up crooked cheap, low-rent, fifty-year no fix rutted pavement streets, deeply gouged, one-lane snow-drift hassles, you get the picture, pass trees are green, coded, secretly coded even fifty street rutted years later, endless trees are green super-secret-coded except for face blush waiting, waiting against boyish infinite time, infinite first blush of innocent manhood, boyhood times, gone now. For what? For one look, one look, and not a quick no-nonsense, no dice look, no time for ragamuffin boys either that would elude him, elude him forever. Such is life in lowly spots, lowly, lowly spots. And no dance, no coded trees are green dance, either, no high school confidential (hell elementary school either, man), handy man, breathless, Jerry Lee freak-out, at least no potato sack stick dance with coded name trees are green brunette. That will come, that will come. But when?

City square, no trespass, no standing, standing, low-slung granite buildings everywhere, granite steps leading to granite doors leading to granite gee-gad counters, hated, no name hated, low-head hated, waiting slyly, standing back on heels, going in furtively, coming out ditto, presto coming out with a gold nugget jewel, no carat, no russkie Sputnik panel glitter for his efforts such is the way of young lumped-up crime, no value, no look, just grab, grab hard, grab fast, grab get yours before the getting is over, or before the dark, dark night comes, the dark pitched-night when the world no longer is young, and dreamed dream make no more sense that this bodily theft.

A bridge too far, an unarched, unsteeled, unspanned, unnerved bridge too far. One speed bicycle boy, dungarees rolled up against dog bites and geared meshes, churning through endless heated, sweated, no handkerchief streets, names, all the parts of ships, names, all the seven seas, names, all the fishes of the seas, names, all the fauna of the sea, names. Twelve-year old hard churned miles to go before sleep, searching for the wombic home, for the old friends, the old drifter, grifter, midnight shifter petty larceny friends, that’s all it was, petty and maybe larceny, hard against the named ships, hard against the named seas, hard against the named fishes, hard against the named fauna, hard against the unnamed angst, hard against those changes that kind of hit one sideways all at once like some mack the knife smack devilish thing

Lindo, lindos, beautiful, beautifuls, not some spanish exotic though, maybe later, just some junior league dream fuss though, some future cheerleader football dame though, some sweated night pasty crust and I, too slip-shot, too, well, just too lonely, too lonesome, too long-toothed before my time to do more than endless walks along endless atlantic streets to summon up the courage to glance, glance right at windows, non-exotic atlantic cheerleader windows. Such is the new decade a-borning, a-borning but not for me, no jack swagger, or bobby goof as they run the table on old tricky dick or some tired imitation of him. Me, I’ll take exotics, or lindos, if they every cross my path, my lonely only path

Sweated dust bowl nights, not the sweated exotic atlantic cheerleader glance nights but something else, something not endless walked about, something done, or with the promise of done, for something inside, for some sense of worth in the this moldy white tee shirt, mildewy white shorts, who knows what diseased sneakers, Chuck Taylor sneakers pushing the red-faced Irish winds, harder, harder around the oval, watch tick in hand, looking, looking I guess for immortality, immortality even then. Later, in bobby darin times or percy faith times, who knows, sitting, sitting high against the lion-guarded pyramid statute front door dream, common dreams, common tokyo dreams, all gone asunder, all gone asunder, on this curious fact, no wind, Irish or otherwise. Stopped short. Who would have figured that one?

Main street walked, main street public telephone booth cheap talk walked searching for some Diana greek goddess wholesale on the atlantic streets. Diana, blonde Diana, cashmere-sweatered, white tennis –shoed Diana, million later Dianas although not with tennis shoes, really gym shoes fit for old ladies to do their rant, their lonely rant against the wind. Seeking, or rather courage-seeking, nickel and dime courage as it turns out; nickel and dime courage when home provided no sanctuary for snuggle-eared delights. Maybe a date, a small-time after school soda split sit at the counter Doc’s drugstore date, or slice of pizza and a coke date at Balducci’s with a few nickels juke boxed in playing our song, our future song, a Hard Rain’s A-Gonna Fall song, and dreams of I Want To Wanted sifting the hot afternoon air, maybe just a swirl at midnight drift, maybe a view of local lore car parked submarine races and mysteries unfurled, ah, to dream, no more than to dream, walking down friendly aisles, arm and arm along with myriad other arm and arm walkers on senior errands. No way, no way and then red-face, alas, red-faced no known even forty years later. Wow.

Multi-colored jacket worn, red and black, black and red, some combination reflecting old time glories, or promises of glory, cigarette, Winston small-filtered, natch, no romantic Bogie tobacco-lipped unfiltered, hanging from off the lip at some jagged angle, a cup of coffee, if coffee was the drink, in hand, a glad hand either way, look right, look left, a gentle nod, a hard stare, a gentle snarl if such a thing is possible beyond the page. Move out the act onto Boston fresh-mown streets. Finally, that one minute, no not fifteen, not fifteen at all, and not necessary of the fame game, local fame, always local fame but fame, and then the abyss on non-fame, non- recognition and no more snarls, gentle or otherwise. A tough life lesson learned, very tough. And not yet twenty.


Drunk, whisky drunk, whisky rotgut whisky drunk, in some bayside, altantic bayside, not childhood atlantic bayside though, no way, no shawlie way, bar. Name, nameless, no legion. Some staggered midnight vista street, legs weak from lack of work, brain weak, push on, push on, find some fellaheen relieve for that unsatisfied bulge, that gnawing at the brain or really at the root of the thing. A topsy-turvy time, murder, death, the death of death, the death of fame, murder, killing murder, and then resolve, wrong resolve and henceforth the only out, war, war to the finish, although who could have known that then. Who could have know that tet, lyndon, bobby, hubert, tricky dick war-circus all hell broke loose thing then, or wanted to.

Shaved-head, close anyway, too close to distinguish that head and ten-thousand, no on hundred-thousand other heads, all shave-headed. I fall down to the earth, spitting mud-flecked red clay, spitting, dust, spitting, spitting out the stars over Alabama that portent no good, no earthy good. Except this-if this is not murder, if this is not to slay, then what is? And the die is cast, not truthfully cast, not pure warrior in the night cast but cast. Wild dreams, senseless wild dreams follow, follow in succession. The days of rage, rage against the light, and then the glimmer of the light.

The great Mandela cries, cries to the high heavens, for revenge against the son’s hurt, now that the son has found his way, a strange way but a way. And a certain swagger comes to his feet in the high heaven black Madonna of a night. No cigarette hanging off the lip now, not Winston filter-tipped seductions, no need, and no rest except the rest of waiting, waiting on the days to pass until the next coming, and the next coming after that. Ah, sweet Mandela, turn for me, turn for me and mine just a little. Free at last but with a very, very sneaking feeling that this is a road less traveled for reason, and not for ancient robert frost to guide you… Just look at blooded Kent State, or better, blooded Jackson State. Christ.

Bloodless bloodied streets, may day tear down the government days, tears, tear-gas exploding, people running this way and that coming out of a half-induced daze, a crazed half-induced daze that mere good- will, mere righteousness would right the wrongs of this wicked old world. But stop. Out of the bloodless fury, out of the miscalculated night a strange bird, no peace dove and no flame-flecked phoenix but a bird, maybe the owl of Minerva comes a better sense that this new world a-bornin’ will take some doing, some serious doing. More serious that some wispy-bearded, pony-tailed beat, beat down, beat around, beat up young stalwart acting in god’s place can even dream of.

Chill chili nights south of the border, endless Kennebunkports, Bar Harbors, Calais’, Monktons, Peggy’s Coves, Charlottetowns, Montreals, Ann Arbors, Neolas, Denvers by moonlight, Boulders echos, Dinosaurs dies, salted lakes, Winnemuccas’ flats, golden-gated bridges, malibus, Joshua Trees, pueblos, embarcaderos, and flies. Enough to last a life-time, thank you. Enough of Bunsen burners, Coleman stoves, wrapped blankets, second-hand sweated army sleeping bags, and minute pegged pup tents too. And enough too of granolas, oatmeals, desiccated stews, oregano weed, mushroomed delights, peyote seeds, and the shamanic ghosts dancing off against apache (no, not helicopters, real injuns) ancient cavern wall. And enough of short-wave radio beam tricky dick slaughters south of the border in deep fall nights. Enough, okay.

He said struggle. He said push back. He said stay with your people. He said it would not be easy. He said you have lost the strand that bound you to your people. He said you must find that strand. He said that strand will lead you away from you acting in god’s place ways. He said look for a sign. He said the sign would be this-when your enemies part ways and let you through then you will enter the golden age. He said it would not be easy. He said it again and again. He said struggle. He said it in 1848, he said it in 1917, he said it in 1973. Whee, an old guy, huh.

Greyhound bus station men’s wash room stinking to high heaven of seven hundred pees, six hundred laved washings, five hundred wayward unnamed, unnamable smells, mainly rank. Out the door, walk the streets, walk the streets until, until noon, until five, until lights out. Plan, plan, plan, plain paper bag in hand holding, well, holding life, plan for the next minute, no, the next ten seconds until the deadly impulses subside. Then look, look hard, for safe harbors, lonely desolate un-peopled bridges, some gerald ford-bored antic newspaper-strewn bench against the clotted hobo night snores. Desolation row, no way home.

A smoky sunless bar, urban style right in the middle of high Harvard civilization, belting out some misty time Hank Williams tune, maybe Cold, Cold Heart from father home times. Order another deadened drink, slightly benny-addled, then in walks a vision. A million time in walks a vision, but in white this time. Signifying? Signifying adventure, dream one-night stands, lost walks in loaded woods, endless stretch beaches, moonless nights, serious caresses, and maybe, just maybe some cosmic connection to wear away the days, the long days ahead. Ya that seems right, right against the oil-beggared time, right.

Lashed against the high end double seawall, bearded, slightly graying against the forlorn time, a vision in white not enough to keep the wolves of time away, the wolves of feckless petty larceny times reappear, reappear with a vengeance against the super-rational night sky and big globs of ancient hurts fester against some unknown enemy, unnamed, or hiding out in a canyon under an assumed name. Then night, the promise of night, a night run up some seawall laden streets, some Grenada night or maybe Lebanon sky boom night, and thoughts of finite, sweet flinty finite haunt his dreams, haunt his sleep. Wrong number, brother. Ya, wrong number, as usual.

White truce flags neatly placed in right pocket. Folded aging arms showing the first signs of wear-down, unfolded. One more time, one more war-weary dastardly fight against Persian gulf oil-driven time, against a bigger opponent, and then the joys of retreat and taking out those white flags again and normalcy. The first round begins. He holds his own, a little wobbly. Second round he runs into a series of upper-cuts that drive him to the floor. Out. Awake later, seven minutes, hours, eons later he takes out the white flags now red with his own blood. He clutches them in his weary hands. The other he said struggle, struggle. Ya, easy for you to say.

Desperately clutching his new white flags, his 9/11 white flags, exchanged years ago for bloodied red ones, white flags proudly worn for a while now, he wipes his brow of the sweat accumulated from the fear he has been living with for the past few months. Now ancient arms folded, hard-folded against the rainless night, raining, he carefully turns right, left, careful of every move as the crowd comes forward. Not a crowd, no, a horde, a beastly horde, and this is no time to stick out with white flags (or red, for that matter). He jumps out of the way, the horde passes brushing him lightly, not aware, not apparently aware of the white flags. Good. What did that other guy say, oh yes, struggle.

One more battle, one more, please one more, one fight against the greed tea party night. He chains himself, well not really chains, but more like ties himself to the black wrought-iron fence in front of the big white house with his white handkerchief. Another guy does the same, except he uses some plastic hand-cuff-like stuff. A couple of women just stand there, hard against that ebony fence, can you believe it, just stand there. More, milling around, disorderly in a way, someone starts om-ing, om-ing out of Allen Ginsberg Howl nights, or at least Jack Kerouac Big Sur splashes. The scene is complete, or almost complete. Now, for once he knows, knows for sure, that it wasn’t Ms. Cora whom he needed to worry about, and that his child dream was a different thing altogether. But who, just a child, could have known that then.

Friday, January 20, 2012

Not Ready For Prime Time AARP Songs- The Beatles' "When I'm Sixty-Four"

Click on the headline to link to a YouTube film clip of the Beatles performing When I'm Sixty-Four from the animated movie Yellow Submarine.

Peter Paul Markin, North Adamsville Class Of 1964 and thus already past sixty-four, comment:

Many of my fellows from the Generation of '68 (a. k. a. baby-boomers) will be, if you can believe this, turning sixty-four this year. So be it.

When I'm Sixty-Four - The Beatles

When I get olded, loosing my hair,
Many years from now
Will you still be sending me the Valentine,
Birthday greetings, bottle of wine

If I stay out till quarter to three
Would you lock the door
Will you still need me, will you still feed me
When I'm sixty-four.

You'll be older too,
And if you say the word I could stay with you.

I could be handy mending a fuse
When your lights have gone
You can knit a sweater by the fireside
Sunday morning go for a ride

Doing the garden, digging the weeds,
Who could ask for more
Will you still need me, will you still feed me
When I'm sixty-four.

Every summer we can rent a cottage in the Isle of Wight,
if it's not too dear
We shall scrimp and save
Grandchildren on your knee
Vera, Chuck & Dave

Send me a postcard, drop me a line
Stating point of view
Indicate precisely what you mean to say
Yours sincerely, wasting away

Give me your answer, fill in a form,
Mine for evermore,
Will you still need me, will you still feed me
When I'm sixty-four.
*******
Ancient dreams, dreamed.

Ya, sometimes, and maybe more than sometimes, a frail, a frill, a twist, a dame, oh hell, let’s cut out the goofy stuff and just call her a woman and be done with it, will tie a guy’s insides up in knots so bad he doesn’t know what is what. Tie up a guy so bad he will go to the chair kind of smiling, okay maybe just half-smiling. Frank (read: future Peter Paul and a million, more or less, other guys) had it bad as a man could have from the minute Ms. Cora walked through the door in her white summer blouse, shorts, and the then de rigueur bandana holding back her hair, also white. She may have been just another blonde, very blonde frail serving them off the arm in some seaside hash joint but from second one she was nothing but, well nothing but, a femme fatale. I swear, I swear on seven sealed bibles that I yelled at the screen for him to get the hell out of there at that moment. But do you think he would listen, no not our boy. He had to play with fire, and play with it to the end.

Nose flattened cold against the frozen, snow falling front window apartment project hang your hat dwelling, small, warm, no hint of madness, or crazes only of sadness, brother kinship sadness, sadness and not understanding of time marching as he, that older brother, goes off to foreign places, foreign elementary school reading, ‘riting, ‘rithmetic places and, he, the nose flattened against the window brother, is left to ponder his own place in those kind of places, those foreign-sounding places, when his time comes. If he has a time, has the time for the time of his time, in this red scare (but what knows he of red scare only brother scares), cold war, cold nose, dust particles in the clogging air night.

A cloudless day, a cloudless Korean War day, talk of peace, merciless truce peace and uncles coming home in the air, hot, hot end of June day laying, face up on freshly mown grass near fellowship carved-out fields, fields for slides and swings, diamonded baseball, no, friendlier softball fields the houses are too close, of gimps, glues, cooper-plated portraits, of sweet shaded elms, starting, now that he too, that nose-flattened brother, has been to foreign places in the time of his time, to find his own place in the sun but wondering, constantly wondering, what means this, what means that, and why all the changes, slow changes, fast changes, blip changes, but changes.

Nighttime fears, red-flagged Stalin-named fears, red bomb unnamed shelter blast fears, named, vaguely named, Julius and Ethel Rosenberg hated stalinite jews killed fears, jews killed our catholic lord fears and what did they do anyway fears against the cubed glass glistening flagless flag-pole rattling dark asphalt school yard night, alone, and, and, alone fears avoidance, clean, clear stand alone avoidance of old times sailors, tars, sailors’ homes AND deaths in barely readable fine- marked granite-grey lonely seaside graveyards looking out on ocean homelands and lost booty. Dead.


Endless walks, endless sea street seawall walks, rocks, shells, ocean water-logged debris strewn every which way, fetid marsh smells to the right, mephitic swamps oozing mud splat to the left making hard the way, the path, okay, to uptown drug stores, Rexall’s drug store, grabbing heist-stolen valentine, ribbon and bow valentine night bushel, signed, hot blood-signed, weary-feet signed, if only she, about five candidates she, later called two blondes, two brunettes, and a red-head, sticks all, no womanly shape to tear a boy-man up, would give a look his way, his look, his newly acquired state of the minute Elvis-imitation look, on endless sea streets, the white-flecked splash inside his head would be quiet.


Walks, endless waiting bus stop non-stop walks, up crooked cheap, low-rent, fifty-year rutted pavement streets, deeply gouged, one-lane snow-drift hassles, pass trees are green, coded, endless trees are green secret-coded waiting, waiting against boyish infinite time, infinite first blush of innocent manhood, boyhood times, gone now, for one look, one look, that would elude him, elude him forever such is life in lowly spots, lowly, lowly spots. And no dance either, no high school confidential (hell elementary school, man), handy man, breathless, Jerry Lee freak-out, at least no potato sack stick dance with coded name brunette. That will come, that will come.

City square no trespass standing, low-slung granite buildings everywhere, granite steps leading to granite doors leading to granite gee-gad counters, hated, no name hated, low-head hated, waiting slyly, standing back on heels, going in furtively, coming out ditto, presto coming out with a gold nugget jewel, no carat, no russkie Sputnik panel glitter for his efforts such is the way of young lumped crime, no value, no look, just grab, grab hard, grab fast, grab get yours before the getting is over, or before the dark, dark night comes, the dark pitched-night when the world no longer is young, and dreamed dream make no more sense that this bodily theft.

A bridge too far, an unarched, unsteeled, unspanned, unnerved bridge too far. One speed bicycle boy, dungarees rolled up against dog bites and geared meshes, churning through endless heated, sweated, no handkerchief streets, names, all the parts of ships, names, all the seven seas, names, all the fishes of the seas, names, all the fauna of the sea, names. Twelve-year old hard churned miles to go before sleep, searching for the wombic home, for the old friends, the old drifter, grifter, midnight shifter petty larceny friends, that’s all it was, petty and maybe larceny, hard against the named ships, hard against the named seas, hard against the named fishes, hard against the named fauna, hard against the unnamed angst, hard against those changes that kind of hit one sideways all at once like some mack the knife smack devilish thing

Lindo, lindos, beautiful, beautifuls, not some spanish exotic though, maybe later, just some junior league dream fuss though, some future cheerleader football dame though, some sweated night pasty crust and I, too slip-shot, too, well, just too lonely, too lonesome, too long-toothed before my time to do more than endless walks along endless atlantic streets to summon up the courage to glance, glance right at windows, non-exotic atlantic cheerleader windows. Such is the new decade a-borning, a-borning but not for me, no jack swagger, or bobby goof as they run the table on old tricky dick or some tired imitation of him. Me, I’ll take exotics, or lindos, if they every cross my path, my lonely only path

Sweated dust bowl nights, not the sweated exotic atlantic cheerleader glance nights but something else, something not endless walked about, something done, or with the promise of done, for something inside, for some sense of worth in the this moldy white tee shirt, mildewy white shorts, who knows what diseased sneakers, Chuck Taylor sneakers pushing the red-faced Irish winds, harder, harder around the oval, watch tick in hand, looking, looking I guess for immortality, immortality even then. Later, in bobby darin times or percy faith times, who knows, sitting, sitting high against the lion-guarded pyramid statute front door dream, common dreams, common tokyo dreams, all gone asunder, all gone asunder, on this curious fact, no wind, Irish or otherwise. Who would have figured that one?

Main street walked, main street public telephone booth cheap talk walked searching for some Diana greek goddess wholesale on the atlantic streets. Diana, blonde Diana, cashmere-sweatered, white tennis –shoed Diana, million later Dianas although not with tennis shoes, really gym shoes fit for old ladies to do their rant, their lonely rant against the wind. Seeking, or rather courage-seeking, nickel and dime courage as it turns out; nickel and dime courage when home provided no sanctuary for snuggle-eared delights. Maybe a date, maybe just a swirl at midnight drift, maybe a view of local lore submarine races, ah, to dream, no more than to dream, walking down friendly aisles, arm and arm along with myriad other arm and arm walkers on senior errands. No way, no way and then red-face, alas, red-faced no known even forty years later. Wow.

Multi-colored jacket worn, red and black, black and red, some combination reflecting old time glories, or promises of glory, cigarette, Winston small-filtered, natch, hanging from off the lip at some jagged angle, a cup of coffee, if coffee was the drink, in hand, a glad hand either way, look right, look left, a gentle nod, a hard stare, a gentle snarl if such a thing is possible beyond the page. Move out the act onto Boston fresh streets. Finally, that one minute, no not fifteen, not fifteen at all, and not necessary of the fame game, local fame, always local fame but fame, and then the abyss on non-fame, non- recognition and no more snarls, gentle or otherwise. A tough life lesson learned, very tough. And not yet twenty.


Drunk, whisky drunk, whisky rotgut whisky drunk, in some bayside, altantic bayside, not childhood atlantic bayside though, no way, no shawlie way, bar. Name, nameless, no legion. Some staggered midnight vista street, legs weak from lack of work, brain weak, push on, push on, find some fellaheen relieve for that unsatisfied bulge, that gnawing at the brain or really at the root of the thing. A topsy-turvy time, murder, death, the death of death, the death of fame, murder, killing murder, and then resolve, wrong resolve and henceforth the only out, war, war to the finish although who could have known that then. Who could have know that tet, lyndon, bobby, Hubert, tricky dick war-circus thing then.

Shaved-head, close anyway, too close to distinguish that head and ten-thousand, no on hundred-thousand other heads, all shave-headed. I fall down to the earth, spitting mud-flecked red clay, spitting, dust, spitting, spitting out the stars over Alabama that portent no good, no earthy good. Except this-if this is not murder, if this is not to slay, then what is? And the die is cast, not truthfully cast, not pure warrior in the night cast but cast. Wild dreams, senseless wild dreams follow, follow in succession. The days of rage, rage against the light, and then the glimmer of the light.

The great Mandela cries, cries to the high heavens, for revenge against the son’s hurt, now that the son has found his way, a strange way but a way. And a certain swagger comes to his feet in the high heaven black Madonna of a night. No cigarette hanging off the lip now, not Winston filter-tipped seductions, no need, and no rest except the rest of waiting, waiting on the days to pass until the next coming, and the next coming after that. Ah, sweet Mandela, turn for me, turn for me and mine just a little. Free at last but with a very, very sneaking feeling that this is a road less traveled for reason, and not ancient robert frost to guide you… Just look at blooded Kent State, or better, blooded Jackson State. Christ.

Bloodless bloodied streets, may day tear down the government days, tears, tear-gas exploding, people running this way and that coming out of a half-induced daze, a crazed half-induced daze that mere good- will, mere righteousness would right the wrongs of this wicked old world. But stop. Out of the bloodless fury, out of the miscalculated night a strange bird, no peace dove and no flame-flecked phoenix but a bird, maybe the owl of Minerva comes a better sense that this new world a-bornin’ will take some doing, some serious doing. More serious that some wispy-bearded, pony-tailed beat, beat down, beat around, beat up young stalwart acting in god’s place can even dream of.

Chill chili nights south of the border, endless Kennebunkports, Bar Harbors, Calais’, Monktons, Peggy’s Coves, Charlottetowns, Montreals, Ann Arbors, Neolas, Denvers by moonlight, Boulders echos, Dinosaurs dies, salted lakes, Winnemuccas flats, golden-gated bridges, malibus, Joshua Trees, pueblos, embarcaderos, and flies. Enough to last a life-time, thank you. Enough of Bunsen burners, Coleman stoves, wrapped blankets, second-hand sweated army sleeping bags, and minute pegged pup tents too. And enough too of granolas, oatmeals, desiccated stews, oregano weed, mushroomed delights, peyote seeds, and the shamanic ghosts dancing off against apache (no, not helicopters, real injuns) ancient cavern wall. And enough of short-wave radio beam tricky dick slaughters south of the border in deep fall nights. Enough, okay.

He said struggle. He said push back. He said stay with your people. He said it would not be easy. He said you have lost the strand that bound you to your people. He said you must find that strand. He said that strand will lead you away from you acting in god’s place ways. He said look for a sign. He said the sign would be this-when your enemies part ways and let you through then you will enter the golden age. He said it would not be easy. He said it again and again. He said struggle. He said it in 1848, he said it in 1917, he said it in 1973. Whee, an old guy, huh.

Greyhound bus station men’s wash room stinking to high heaven of seven hundred pees, six hundred laved washings, five hundred wayward unnamed, unnamable smells, mainly rank. Out the door, walk the streets, walk the streets until, until noon, until five, until lights out. Plan, plan, plan, plain paper bag in hand holding, well, holding life, plan for the next minute, no, the next ten seconds until the deadly impulses subside. Then look, look hard, for safe harbors, lonely desolate un-peopled bridges, some gerald ford-bored newspaper-strewn bench against the clotted hobo night snores. Desolation row, no way home.

A smoky sunless bar, urban style right in the middle of high Harvard civilization, belting out some misty time Hank Williams tune, maybe Cold, Cold Heart from father home times. Order another deadened drink, slightly benny-addled, then in walks a vision. A million time in walks a vision, but in white this time. Signifying? Signifying adventure, dream one-night stands, lost walks in loaded woods, endless stretch beaches, moonless nights, serious caresses, and maybe, just maybe some cosmic connection to wear away the days, the long days ahead. Ya that seems right, right against the oil-beggared time, right.

Lashed against the high end double seawall, bearded, slightly graying against the forlorn time, a vision in white not enough to keep the wolves of time away, the wolves of feckless petty larceny times reappear, reappear with a vengeance against the super-rational night sky and big globs of ancient hurts fester against some unknown enemy, unnamed, or hiding out in a canyon under an assumed name. Then night, the promise of night, a night run up some seawall laden streets, some Grenada night or maybe Lebanon sky boom night, and thoughts of finite, sweet flinty finite haunt his dreams, haunt his sleep. Wrong number, brother. Ya, wrong number, as usual.

White truce flags neatly placed in right pocket. Folded aging arms showing the first signs of wear-down, unfolded. One more time, one more war-weary dastardly fight against Persian gulf oil-driven time, against a bigger opponent, and then the joys of retreat and taking out those white flags again and normalcy. The first round begins. He holds his own, a little wobbly. Second round he runs into a series of upper-cuts that drive him to the floor. Out. Awake later, seven minutes, hours, eons later he takes out the white flags now red with his own blood. He clutches them in his weary hands. The other he said struggle, struggle. Ya, easy for you to say.

Desperately clutching his new white flags, his 9/11 white flags, exchanged years ago for bloodied red ones, white flags proudly worn for a while now, he wipes his brow of the sweat accumulated from the fear he has been living with for the past few months. Now ancient arms folded, hard-folded against the rainless night, raining, he carefully turns right, left, careful of every move as the crowd comes forward. Not a crowd, no, a horde, a beastly horde, and this is no time to stick out with white flags (or red, for that matter). He jumps out of the way, the horde passes brushing him lightly, not aware, not apparently aware of the white flags. Good. What did that other guy say, oh yes, struggle.

One more battle, one more, please one more, one fight against the greed tea party night. He chains himself, well not really chains, but more like ties himself to the black wrought-iron fence in front of the big white house with his white handkerchief. Another guy does the same, except he uses some plastic hand-cuff-like stuff. A couple of women just stand there, hard against that ebony fence, can you believe it, just stand there. More, milling around, disorderly in a way, someone starts om-ing, om-ing out of Allen Ginsberg Howl nights, or at least Jack Kerouac Big Sur splashes. The scene is complete, or almost complete. Now, for once he knows, knows for sure, that it wasn’t Ms. Cora whom he needed to worry about, and that his child dream was a different thing altogether. But who, just a child, could have known that then.

Saturday, January 14, 2012

A Dream Fragment On Looking For A Few Good…Mystics -In The Matter Of Tom Wolfe’s “The Electric Kool-Aid Acid Test”

Click on the headline to link to a Wikipedia entry for Tom Wolfe's Electric Kool-Aid Acid Test.

Peter Paul Markin, North Adamsville Class Of 1964, comment:

Okay, blame this foam-flecked entry totally on old wanna-be “gonzo” journalist/novelist Tom Wolfe and his infernal 1960s classic countercultural expose The Electric Kool-Aid Acid Test. I’ll explain the ‘wanna-be’ part in some book review, or in some of other place where talking about and discussing the "new journalism (1960s-style, including the likes of Hunter Thompson and Joan Didion)” is called for. But, at least for now, I want to explain the why of that ‘where the blame should be placed’.

And why does Brother Wolfe (or is it really Brother Wolf?) earn this blame? Well, frankly, merely by telling this acid-etched (literally) story about the late author Ken Kesey (most famous for One Flew Over The Cuckoo’s Nest and Sometimes A Great Notion), his California-gathered (naturally, right?) tribe of Merry Pranksters, their then rural California coastal communal arrangements (or non-arrangements, or dis-arrangements, as the case may be), and their antics, including a collectively produced and massively-filmed cross-country “bus” ride “further in” that cemented their zany experiences. No kidding- you were truly either on the “bus” or off the “bus” if you got entangled with this crowd.

Oh, did I mention, as well, their deep-end “edge city” drug experiences, especially the then little known acid (LSD) trips? Those drug experiments, important as they were to the story line of the book, are, however, not what have me up in arms though. Hey, experimenting with drugs, or experimenting with sometime (sex, the karma sutra, zen, sex, abstract primitivist painting, free-form verse, sex, hitchhiking the universe, sex, etc.) was de rigueur in those halcyon days. I wouldn’t waste my breath, and your time, recounting those kinds of stories. Everybody did drugs back then, or was….un-hip. And almost no one, hip, un-hip, cloven-footed devil, or haloed angel wanted to be thought of as un-hip, un-cool.

The others, those who today claim memory loses on the subject, or some story along those lines, just lie. Or were cloistered somewhere, and such circumstances are better left untold. Or, and here is my favorite, didn’t inhale. The number of guys (and gals) who NOW say that they didn’t inhale exceeds the total youth tribe members of the 1960s, by far, especially those with wayward children of their own. Unless, of course, my numbers are off, slightly. I, in any case, need not go through that scene again. Read Wolfe’s book or watch Dennis Hopper’s Easy Rider, or ask your parents or…ouch, grandparents.

Today, however, I am excised on another point. Wolfe mentioned, repeatedly, the quasi-religious, mystical nature of the Kesey-gathered Merry Prankster tribal experience. And central to that, as to all such mystical communal experiences, is the emergence of some kind of “messiah” figure, or at least a chief mystic who guides the group’s actions, including the inevitable breakout into the real wide world when that time comes. Then, the breakout time, is when the power struggle really begins as the increased number of acolytes gather round and begin the long process of the selection of the “ins” and “outs”. To speak nothing of the very serious question of who is to “guard” the wisdom tablet (maybe, literally, a tablet in this case). Or who conducts the ceremonials to adhere the devotees. This is well-trodden ground, in any case.

And what in hell am I mad about that little quirky business for? Kesey was hardly the first guy or gal, and will hardly be the last either, to come down off the mountain to spread the “good news,” if only among the elect-at first. Hear me out though. I am sick and tired, utterly sick and tired, after a life time of listening, or really, half-listening to the latest screeds of the “god-seekers”, secular or religious. And of the side show carnival guys claiming for the umpteenth time they have the “new message” about human redemption. And of the about the 287th, or so, rendition of the story line of those who succumbed to some “conversion” religious experience. Enough, right? Well, perhaps, but what I want to blurt out is that, damn, I think Wolfe, and through him, Kesey were basically right that this was a time, the 1960s that is , when we, and I include myself in this as well, were looking for the “new messiah.”

For starters though, just in case the reader is caught up short on the term “new messiah”, forget all the rough and tumble organized traditional religious stuff. That was a non-contender, then anyway. Hell, that was what we were running away from, and running as hard as our wobbly, drug-filled heads would force our legs to take us. (The three of us who have "confessed" to such activity in those days, excuse me. I don’t know in what condition the others were in during their runs.) No, any “church” had to be in some freshly-mown meadow, or among the squirrel-infested pines, or at the edge of the earth on some place where ‘our homeland’ the ocean, the sand and our sense of the vastness of space met. And any “preacher,’ of the “good book” or, for that matter, of the virtues of demonology had to wear multi-colored, flowing home-spun robes, or some discarded army-navy store uniform, or some sheepskin vest, or maybe nothing. But, please, no collars around your neck, or ours. There were plenty of candidates looking for the job, looking to be heard, looking to be listened to and looking for those who were looking, for awhile anyway, until they ran out of steam, ran off with their sweeties, or with the cash box.

What we were looking for, at least what I think we were looking for was someone, once the traditional politicians proved to have feet of clay, or were mired in mud and blood up to their necks, or were blown away, to lead us to the “Promised Land.” That’s right the “Promised Land,” not some old quirky, queasy, hard scrabble, no air place that we all knew, or all of us that were “hip” knew, was not where we were at then. You know sometimes it was as simple as finding someone who had an answer or two. If they had a plan, or maybe had the whole thing mapped out, so much the better. Mainly they just didn’t have to shout about it to the whole square world and bring the squares in to corner it, corral it, organize it, and make it a thing that not even your square, square parents could love.

And that, my friends, is where someone like Ken Kesey got some play, got his edge. His simple Western- bred (American Western-bred) ways, his obvious literary talents that acted as a magnet for those who saw no real difference between mad scientist Kesey and ‘mad scientist’ McMurphy (in One Flew Over The Cuckoo’s Nest), and his strong branding personality held the Prankster commune together. For a while. Until he too proved to have feet of clay, and fled. But here is the main point in the end it required just too much of a leap of faith to sail into the mystic with the mystics. For those like me, and there were many others like me, we had our mystical moment but when the deal went down we had to look elsewhere to other names to “seek the newer world.” World historic names, names like Marx, Lenin and Trotsky, no one, except, maybe, those now professed non-inhalers and vanguard neo-con cultural dead-enders, would confuse with mysticism.

Saturday, December 31, 2011

Not Ready For Prime Time AARP Songs- The Beatles' "When I'm Sixty-Four"

Click on the headline to link to a YouTube film clip of the Beatles performing When I'm Sixty-Four from the animated movie Yellow Submarine.

Peter Paul Markin, North Adamsville Class Of 1964 and thus already past sixty-four, comment:

Many of my fellows from the Generation of '68 (a. k. a. baby-boomers) will be, if you can believe this, turning sixty-four this year. So be it.

When I'm Sixty-Four - The Beatles

When I get olded, loosing my hair,
Many years from now
Will you still be sending me the Valentine,
Birthday greetings, bottle of wine

If I stay out till quarter to three
Would you lock the door
Will you still need me, will you still feed me
When I'm sixty-four.

You'll be older too,
And if you say the word I could stay with you.

I could be handy mending a fuse
When your lights have gone
You can knit a sweater by the fireside
Sunday morning go for a ride

Doing the garden, digging the weeds,
Who could ask for more
Will you still need me, will you still feed me
When I'm sixty-four.

Every summer we can rent a cottage in the Isle of Wight,
if it's not too dear
We shall scrimp and save
Grandchildren on your knee
Vera, Chuck & Dave

Send me a postcard, drop me a line
Stating point of view
Indicate precisely what you mean to say
Yours sincerely, wasting away

Give me your answer, fill in a form,
Mine for evermore,
Will you still need me, will you still feed me
When I'm sixty-four.

*******
Ancient dreams, dreamed:

To be born under a portentous sign. Ya, sometimes, and maybe more than sometimes, a frail, a frill, a twist, a dame, oh hell, let’s cut out the goofy stuff and just call her a woman and be done with it, will tie a guy’s insides up in knots so bad he doesn’t know what is what. Tie up a guy so bad he will go to the chair kind of smiling, okay, maybe just half-smiling. He had it bad as a man could have from the minute Ms. Cora walked through the door in her white summer blouse, shorts, and then de rigueur bandana, white as well, holding back her hair. She may have been just another blonde, another very blonde frail serving them off the arm in some seaside hash joint but from second one she was nothing but, well nothing but, a femme fatale. Trouble, big trouble. I swear, I swear on seven sealed bibles that I yelled at the movie screen for him to get the hell out of there at that moment. But do you think he would listen, no not our boy. He had to play with fire, and play with it to the end.

Nose flattened cold against the frozen, snow falling front window apartment dwell, small, warm, no hint of madness, or crazes only of sadness, brother sadness, sadness and not understanding of time marching as he, that brother, goes off to foreign places and one is left to ponder his own place in those places.

A cloudless day, hot, hot end of June day laying, face up on freshly mown grass near fellowship carved-out fields, starting to find his own place in the sun but wondering, constantly wondering, what means this, what means, that and why all the changes, slow changes, fast changes, blip changes but changes.

Endless walks, endless sea street walks, rocks strewn every which way, making way for the uptown drug store valentine night bushel, if only she, about five candidates she just then, would give a look his way his endless sea streets, the white-flecked splash would be quiet.

Nighttime fears, red Stalin-named fears, red bomb shelter blast fears against the dark school yard night and avoidance, clean, clear avoidance of old times sailors, tars, AND deaths in lonely seaside graveyards.

Walks, bus stop non stop walks, up crooked cheap, low rent, fifty-year rutted pavement streets pass trees are green, endless trees are green waiting, waiting against infinite time for one look, one look that would elude him, elude him forever. Such is life in lowly spots, lowly, lowly spots.

City square standing, waiting, standing going in, coming out, coming out with a gold nugget jewel, no carat for his efforts such is the way of young crime, no value, no look just grab, grab hard, grab fast, grab get yours before the getting is over, or before the dark night comes, the dark pitched-night when the world no longer is young, and dreamed dreams make no more sense.

A bridge too far. Bicycle boy churning through endless heated streets, names all the parts of ships, names, all the seven seas, names, all the fishes of the seas, names, all the fauna of the sea. Twelve-year old miles to go before sleep, searching for the wombic home, for the old friends, the old grifter, midnight shifters friends hard against the named seas, against those slo-fast changes that kind of hit one sideways all at once.

Lindo, lindos, beautiful, beautifuls, not some spanish exotic though, I don’t think, just some junior league dream fuss, some sweated night pastry crust and I too slip-shot, too, well, just too lonely, too lonesome, too long-toothed before my time to do more than endless walks along endless atlantic streets to summon up the courage to glance, glance right at windows, non-exotic atlantic windows.

Sweated dust bowl nights, not the sweated exotic atlantic nights but something else for something inside for some sense of worth in the this moldy shirt, mildewed shorts, who knows what diseased sneakers, pushing the red-faced Irish winds, harder, harder around the oval ,watch tick in hand, looking, looking I guess for immortality, immortality even then.

Main street walked, main street telephone booth walked, searching for some Diana greek goddess wholesale on the atlantic streets. Or rather courage, nickel and dime courage as it turns out, nickel and dime courage when home provided no sanctuary for snuggle-eared delights, No way, no way, Jack, not my name, and then red-face, red-face even forty years later. Wow.

Multi-colored jacket worn, cigarette hanging from off the lip at some jagged angle, a cup of coffee if coffee was the drink, in hand, a glad hand either way, look right, look left, a gentle nod, a hard stare, a gentle snarl if such a thing is possible beyond the page. Finally, that one minute, no not fifteen, not fifteen at all, and not necessary of fame, local fame, always local fame but fame, and then the abyss on non-fame, non- recognition and no more snarls, gentle or otherwise. A tough life lesson, very tough.


Drunk, whisky drunk in some bayside bar. Name, nameless, no legion. Some staggered midnight vista street, legs weak from lack of work, brain weak, push on, push on, find some fellaheen relieve for that unsatisfied bulge, that gnawing at the brain or really at the root of the thing. A topsy-turvy time, murder, death, the death of death, the death of fame, murder, killing murder, and then resolve, wrong resolve and henceforth the only out, war, war to the finish although who could have known that then.

Shaved-head, close anyway, too close to distinguish that head and ten-thousand, no, one hundred-thousand other heads, all shave-headed. I fall down to the earth, spitting mud-flecked red clay, spitting, dust, spitting, spitting out the stars over Alabama that portent no good, and no earthly good. Except this-if this is not murder, if this is not to slay, then what is? And the die is cast, not truthfully cast, not pure warrior in the night cast but cast. Wild dreams, senseless wild dreams follow, follow in succession.

The great Mandela cries, cries to the high heavens, for revenge against the son’s hurt, now that the son has found his way, a strange way but a way. And a certain swagger comes to his feet in the high heaven black madonna of night. No cigarette hanging off the lip now, no need, and no rest except the rest of waiting, waiting on the days to pass until the next coming, and the next coming after that. Ah, sweet Mandela, turn for me, turn for me and mine just a little.

Bloodless bloodied streets, tears, tear-gas exploding, people running this way and that coming out of a half-induced daze, a crazed half-induced daze that mere good- will, mere righteousness would right the wrongs of this wicked old world. But stop. Out of the bloodless fury, out of the miscalculated night a strange bird, no peace dove and no flame-flecked phoenix but a bird, maybe the owl of Minerva comes a better sense that this new world a-bornin’ will take some doing, some serious doing. More serious that some wispy-bearded, pony-tailed beat, beat down, beat around, beat up young stalwart acting in god’s place can even dream of.

Chill chili nights south of the border, endless Kennebunkports, Bar Harbors, Calais’, Monkton, Peggy’s Coves, Charlottetowns, Montreals, Ann Arbors, Neolas, Denvers by moonlight, Boulders echos, Dinosaurs dies, salted lakes, Winnemuccas flats, golden-gated bridges, malibus, Joshua Trees, pueblos, embarkederos, and flies. Enough to last a life-time, thank you. Enough of Bunsen burners, Coleman stoves, wrapped blankets, second-hand sweated army sleeping bags, and minute pegged pup tents too. And enough too of granolas, oatmeals, desiccated stews, oregano weed, mushroomed delights, peyote seeds, and the shamanic ghosts dancing off against apache (no, not helicopters, real injuns) ancient cavern wall. Enough, okay.

He said struggle. He said push back. He said stay with your people. He said it would not be easy. He said you have lost the strand that bound you to your people. He said you must find that strand. He said that strand will lead you away from you acting in god’s place ways. He said look for a sign. He said the sign would be this-when your enemies part ways and let you through then you will enter the golden age. He said it would not be easy. He said it again and again. He said struggle.

Greyhound bus station men’s wash room stinking to high heaven of seven hundred pees, six hundred laved washings, five hundred wayward unnamed, unnamable smells, mainly rank. Out the door, walk the streets, walk the streets until, until noon, until five, until lights out. Plan, plan, plan, plain paper bag in hand holding, well, holding life, plan for the next minute, no, the next ten seconds until the deadly impulses subside. Then look, look hard, for safe harbors, lonely desolate un-peopled bridges, some newspaper-strewn bench against the clotted hobo night snores. Desolation row, no way home.

A smoky sunless bar, urban style right in the middle of high Harvard civilization, belting out some misty time Hank Williams tune, maybe Cold, Cold Heart from father home times. Order another deadened drink, slightly benny-addled, then in walks a vision. A million time in walks a vision, but in white this time. Signifying? Signifying adventure, dream one-night, lost walks in loaded woods, endless stretch beaches, moonless nights, serious caresses, and maybe, just maybe some cosmic connection to wear away the days, the long days ahead. Ya that seems right, right.

White flags neatly placed in right pocket. Folded aging arms showing the first signs of wear-down, unfolded. One more time, one more dastardly fight against time, against a bigger opponent, and then the joys of retreat and taking out those white flags again and normalcy. The first round begins. He holds his own, a little wobbly. Second round he runs into a series of upper-cuts that drive him to the floor. Out. Awake later, seven minutes, hours, eons later he takes out the white flags now red with his own blood. He clutches them in his weary hands. The other he said struggle, struggle. Ya, easy for you to say.

Desperately clutching his new white flags, exchanged years ago for bloodied red ones, white flags proudly worn for a while now, he wipes his brow of the sweat accumulated from the fear he has been living with for the past few months. Now ancient arms folded, hard-folded against the rainless night, raining, he carefully turns right, left, careful of every move as the crowd comes forward. Not a crowd, no, a horde, a beastly horde, and this is no time to stick out with white flags (or red, for that matter). He jumps out of the way, the horde passes brushing him lightly, not aware, not apparently aware of the white flags. Good. What did that other guy say, oh yes, struggle.

One more battle, one more, please one more. He chains himself, well not really chains, but more like ties himself to the black wrought-iron fence in front of the big white house with his white handkerchief . Another guy does the same, except he uses some plastic stuff. A couple of women just stand there, hard against that ebony fence, can you believe it, just stand there. More, milling around, disorderly in a way, someone starts om-ing, om-ing out of Allen Ginsberg Howl nights, or at least Jack Kerouac Big Sur splashes. The scene is complete, or almost complete. Now, for once he knows, knows for sure, that it wasn’t Ms. Cora whom he needed to worry about, and that his child dream was a different thing altogether. But who, just a child, could have known then.

Monday, November 28, 2011

Out In The 1970s Be-Bop Rock ‘N’ Rock Night-When The Music’s Over- “The Last Waltz- A Film Review

Click on the headline to link to a Wikipedia entry for The Band’s last stand, The Last Waltz.

DVD Review

The Last Waltz, The Band, various rock, folk rock and blues artists, directed by Martin Scorsese, United Artists, 1978

It’s funny sometimes how when you are hooked into certain musical vibes like going back in the day to classic rock ‘n’ roll things, things like remembrances of long lost bands, turn up in odd places. That is the case here with the Martin Scorsese documentary film, The Last Waltz, the filming of The Band’s last concert in 1976.

And here is the sequence of how I got there. I had heard, several years ago, that Bob Dylan was putting out as part of his now seemingly never-ending official boot-leg series, some work that he did with The Band back in the mid-1960s when he was “hiding” out with them after his motorcycle accident out in the Woodstock (ya, that Woodstock) area of upstate New York making all kinds of interesting music from a number of genres. I made a mental note to check it out but did not pursue the thought until recently. Then I headed to a local library to see if they had a CD of the work since they had other in the series (and in fact has a separate Dylan drawer for all of their CD collection of him). They didn’t have it, or rather it was out. So I went to the Dylan drawer to check on some other possibilities and there I found a set of five CD’s entitled the “Real Woodstock Sessions Boot-leg” series (or something like that). And that find contained (along with plenty of odd-ball outtakes and other miscellanea) some incredible versions of famous folk, folk rock, and country songs like Joshua Gone Barbados, Spanish Is The Loving Tongue, I Forgot To Remember To Forget Her, and stuff like that. All done in just kind of off-handedly way, Dylan and The Band off-handedly.

That is a rather circuitous way to explain the why of this review of The Last Waltz that I had seen when it originally came out in 1978 and have now re-viewed. What popped out at me in this second sighting was that these guys displayed in this two hour documentary that same kind of off-handed serious musicianship that I sensed in the boot-leg CD series mentioned above. No only did they rock, when rock was called for, but they could turn around musically (and instrumentally too) and do, well, a waltz. Hell, some of the instruments they were playing, and playing with professional abandon, I am not even sure I know the names of. And that explains Scorsese interest in doing this piece. He sensed a good story behind the rock and roll, a story of a band coming together when it counts-on stage. But also when, as band leader Robbie Robertson put it, it is time to move on after over a decade on the road. The road is a monster only the crazed, and Bob Dylan, can keep rolling along on. The Band got “off the bus” while they still had plenty of music left in them, just not together.


That said, all that is left is to pick out some highlights from some of the performers who showed up to bid adieu. Aside from a couple of numbers of their own The Band’s strength here was as “back-up” for a number of performers, most notably Neil Young on Helpless, Van Morrison on Radio, Joni Mitchell on Coyote, Bob Dylan on I Shall Be Released (along with the entire ensemble), Muddy Waters On Mannish-Child, and going back to their roots, Ronnie Hawkins on Who Do You Love. Nice stuff, nice stuff indeed if you are interested in knowing what it was like when men (and women) played rock and roll for keeps.

Saturday, August 20, 2011

In The Time Of The Time Of The British Blues Explosion-He Ain't No One-Trick Pony- The Belfast Cowboy Rides Again Van Morrison’s “Keep It Simple”

Click on the headline to link to a YouTube film clip of Van Morrison performing Behind The Ritual.

CD Review

Keep It Simple, Van Morrison, Exile Records, 2008


Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Keep It Simple, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But he ain't no one-trick pony.No way, no how. Too many hard life lessons "learned."

If you do not believe me then just listen to him ante up on School of Hard Knocks, a classic bluesy number; the thoughtful Song Of Home; the pathos of No Thing; the title song reflecting back from back in youthful rock times, Keep It Simple; and, something out of time, Behind The Ritual. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.

Friday, August 19, 2011

In The Time Of The Time Of The British Blues Explosion-He Ain't No One-Trick Pony- The Belfast Cowboy Rides Again Van Morrison’s “Down The Road”

Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, Back On Top.

CD Review

Down The Road, Van Morrison, Exile Records, 2002


Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast cowboy.

If you do not believe me then just listen to him ante up on Steal My Heart Away, a classic bluesy number; the thoughtful The Beauty Of Days Gone By; the pathos of Chopping Wood; the title song reflecting back on youthful rock timesDown The Road; and, something out of time,Fast Train. The Belfast cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.

Thursday, August 18, 2011

In The Time Of The Time Of The British Blues Explosion- This Ain't No One-Trick Pony- The Belfast Cowboy Rides Again Van Morrison’s “Brown Eyed Handsome Man”

Click on the headline to link to a YouTube film clip of Van Morrison performing In The Back Room.

CD Review

Brown Eyed Handsome Man , Van Morrison, Bono Records, 2000


Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how not with that deep musical background.

If you do not believe me then just listen to him ante up on He Ain’t Give You None, a classic bluesy number; the thoughtful Beside You; the pathos of Send Your Mind; the title song from back in youthful rock timesBrown Eyed Handsome Man; and, something out of time,The Back Room. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.

Wednesday, August 17, 2011

In The Time Of The Time Of The British Blues Explosion- This Ain't No One-Trick Pony-The Belfast Cowboy Rides Again Van Morrison’s “The Best Of Van Morrison, Volume Three”

Click on the headline to link to a YouTube film clip of Van Morrison performing Tupelo Honey. A greatest hit, indeed.

CD Review

The Best Of Van Morrison: Volume Three, two CD set, Van Morrison, various artist, Exile Productions, 2007


Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how.

If you do not believe me then just listen to him ante up on Gloria , a classic bluesy number with legendary bluesman John Lee Hooker; the thoughtful Centerpiece Stone with Georgie Fame and the Flames;the pathos of That’s Life;The Healing Game; and, something out of time, out of youthful rock timeTupelo Honey with bluesman Bobby Bland. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And as loners, not with legendary company. But fine, fine indeed.

Tuesday, August 16, 2011

In The Time Of The Time Of The British Blues Explosion- He Ain't No One-Trick Pony-The Belfast Cowboy Rides Again- Van Morrison’s "How Long Has This Been Going On"

Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, How Long Has This Been Going On.

CD Review

How Long Has This Been Going On, Van Morrison, with Georgie Fame and the Flames, Exile Productions, 1995


Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way.

If you do not believe me then just listen to him ante up on Early In The Morning , a classic bluesy number; the thoughtful Gershwin tuneHow Long Has This Been Going On ; the pathos of That’s Life;and, Blues In The Night; and, something out of lost time,Early In The Morning. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And kudos to Brother Fame, who rode that same train, as well.

Monday, August 15, 2011

In The Time Of The Time Of The British Blues Explosion- He Ain't No One-Trick Pony- The Belfast Cowboy Rides Again-Van Morrison’s “Back On Top”

Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, Back On Top.

CD Review

Back On Top, Van Morrison, Exile Productions, 1999


Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, Back on Top, and another “outlaw” country music man, the "Belfast Cowboy," Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast cowboy. But he ain't no one-trick pony, no way. This guy is a musical songbook of the late 20th century.

If you do not believe me then just listen to him ante up on Goin’ Down Geneva, a classic bluesy number; the thoughtful The Philosophers Stone; the pathos of High Summer; the title song Back On Top; and, something out of time, something out of a place that few musicians, hell, few people, go Golden Autumn Day. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves.

Wednesday, August 10, 2011

From Out In The Be-Bop 1950s Rock Night- Bill Haley's "Skinnie Minnie"

Click on the headline to link to a YouTube film clip of Bill Haley and his Comets performing the classic Skinnie Minnie.

Markin comment:

In an earlier age (it was only fifty years ago, although that amount of time is probably an eternity in the fashion world, female variety) women were expected to be a little more voluptuous than Minnie. My personal preference on the subject then though was to go for Minnie, skinnie or not, in the teenage battle of "sticks" vs. "shapes."
****
Skinnie Minnie lyrics-Bill Haley and His Comets

SKINNIE MINNIE - BILLY HALEY & HIS COMETS

Well my skinnie minnie has a clay as a cheek
And I was 6 feet high and one foot thin
And now I do I love her, does a boy love pie?
Well now and she has the eye pull over my eye
Skinnie Minnie she's skinnie
She ain't tall, that's all
Well Although her shadow doesn't take much ground
Well now what there is, that really gets her around
And now what are there ahead, there's a lot she'd be

{ From: http://www.elyrics.net/read/b/bill-haley-lyrics/skinnie-minnie-lyrics.html }

And now and she may not weight too much for me
Skinnie Minnie she's skinnie
She ain't tall, that's all
Well now it's hard being slimmer than a fishing pole
She (has) one hair blond and the other hair brown
And now I did the other cheek from the other side
And now I found the old yard where did she hideah,
Skinnie Minnie she's skinnie
She ain't tall, that's all