Saturday Night at the Oldies: Obscure ’60s Psychedelia

Psychedelic Posters

The Monterey Pop Festival was 55 years ago, yesterday. Your humble correspondent was in attendance.

How many of these do you remember?   If you were too much of the '60s then you probably don't remember anything assuming you still animate the mortal coil; if you were too little of the '60s then you won't remember any of these for a different reason.  But among the latter are some very beautiful songs from that amazingly creative time.

Fever Tree, The Sun Also Rises

Fever Tree, San Francisco Girls

Love,  Alone Again Or

Jefferson Airplane, Embryonic Journey

Moby Grape, Omaha

Moby Grape, I am not Willing

H.P. Lovecraft, The White Ship

Quicksilver Messenger Service, Pride of Man

Related: The Myth of the Boomer Bogeyman

Not Dark Yet

 Tomorrow, Bob Dylan turns 81.

Can one get tired of Dylan? That would be like getting tired of America. It would be like getting to the point where no passage in Kerouac brings a tingle to the spine or a tear to the eye, to the point where the earthly road ends and forever young must give way to knocking on heaven's door. The scrawny Jewish kid from Hibbing Minnesota, son of an appliance salesman, was an unlikely bard, but bard he became. He's been at it a long, long time, and his body of work is as vast and as variegated as America herself. We old fans from way back who were with him from the beginning are still finding gems unheard as we ourselves enter the twilight where it's not dark yet, but getting there. But it is a beautiful fade-out from a world that cannot last.

A tip of the hat to Bro Inky for sending me to Powerline where Scott Johnson has a couple of celebratory pieces with plenty of links to Dylan covers. Here's one and here's the other. An excerpt from the first:

In his illuminating City Journal essay on Pete Seeger — “America’s most successful Communist” — Howard Husock placed Dylan in the line of folk agitprop in which Seeger took pride of place. Husock’s essay is an important and entertaining piece. Dylan is only a small part of the story Husock has to tell, however, and Husock therefore does not pause long enough over Dylan to observe how quickly Dylan burst the confines of agitprop, found his voice, and tapped into his own vein of the Cosmic American Music. Looking back on his long career, one can discern his respect for the tradition as well as his ambition to take his place at its head.

Saturday Night at the Oldies: Heart Failure

There is heart failure of the electrical and hydraulic sort and there is custody-of-the-heart failure. Which is worse? Well, which is better, our spiritual or our physical health?

Johnny Cash: "I keep a close watch on this heart of mine."

Elvis Presley: "I can't help falling in love with you." Andrea Bocelli in Las Vegas

Bea Wain, Heart and Soul, 1939.  

Neil Young, Heart of Gold

Tom Waits, Heart Of Saturday Night

Marcels, Heartache, 1961

Linda Ronstadt, Heart Like a Wheel

Holy Saturday Night at the Oldies

Herewith, six definite decouplings of rock and roll from sex and drugs.

Norman Greenbaum, Spirit in the Sky

Johnny Cash, Personal Jesus. This is one powerful song.

Clapton and Winwood, Presence of the Lord. Why is Clapton such a great guitarist? Not because of his technical virtuosity, his 'chops,' but because he uses them to say something. You don't agree? De gustibus non est disputandum!

George Harrison, My Sweet Lord

George Harrison, Hear Me Lord

George Harrison, All Things Must Pass.  Harrison was the Beatle with depth. Lennon the radical, McCartney the romantic, Starr the regular guy.

Saturday Night at the Oldies: Rydell Remembered

Bobby Rydell has died at age 79.

In the late '50s, early '60s a number of Italian-American singers changed their names to avoid anti-Italian prejudice and to assimilate. Rydell was among them. Assimilation, however, is a thing of the past, and the current lack thereof is a good part of our nation's decline.  But I digress. 

Before Bobby Darin became Bobby Darin he rejoiced under the name, Walden Robert Cassotto.  Dream Lover18 Yellow Roses. You're the Reason I'm Living.

Bobby Rydell started out Robert Ridarelli.  Forget HimVolare. "Letsa fly . . . ."  We Got Love.

No, his name wasn't Dino Martino, it was Dino Paul Crocetti.  Schmaltzy as it is, That's Amore captures the Nagelian what-it's-like of being in love.  Houston.

Concetta Rosa Maria Franconero, better known as Connie Francis. My Darling ClementineNever on Sunday.  

Timoteo Aurro = Timi Yuro.  When I first heard her back in the day, I thought she was black.  What a voice!  What's the Matter, Baby?  Her signature number: Hurt.

Laura traded in 'Nigro' for 'Nyro.'  Wedding Bell Blues.   And When I Die.  These go out to Monterey Tom, big L.N. fan.  Nyro died young in 1997 of ovarian cancer, 49 years of age.

Joseph Di Nicola (Joey Dee and the Starlighters), Peppermint Twist, with an intro by Dwight D. Eisenhower!  This video shows what the dude looked like. Resembles a super short Joe Pesci.  What Kind of Love is This?

Saturday Night at the Oldies: Sartorial Songs

In Chapter 42 of his EssaysMontaigne remarks that

We praise a horse for its strength and speed, not on account of its harness; a greyhound for its swiftness and not its collar; a hawk for its wing and not for its jesses and bells. Why then do we not value a man for what is his? . . . If you bargain over a horse, you remove its trappings, you see it bare and uncovered . . . . Why, when estimating a man, do you estimate him all wrapped and muffled up? . . . We must judge him by himself, not by his attire. (Tr. E. J. Trechmann)

I am tempted to agree by saying what I once said to my mother when she told me that clothes make the man, namely, that if clothes make the man, then the kind of man that clothes make is not the kind of man I want to be. (Women are undeniably more sensitive than men to the fact that the world runs on appearances. They have a deep intuitive understanding of the truth that the Germans express when they say, Der Schein regiert die Welt.)

But there is another side to the problem, one that the excellent Montaigne ignores. A horse does not choose its bit and harness, but has them imposed on it. A man, however, chooses how he will appear to his fellows, and so choosing makes a statement as to his values and disvalues. It follows that there is some justification in judging by externals. For the externals we choose, unlike the externals imposed on a horse, are defeasible indicators of what is internal. In the case of human beings, the external is not merely external: the external is also an expression of the internal. Our outer trappings express our attitudes and beliefs, our allegiances and alignments.

But enough philosophy!  Punch the clock. Tomorrow's another day. On to some tunes.  Pour yourself a stiff one. We get things off to a rousing start this fine Saturday evening with

ZZ Top, Sharp-Dressed Man.  This one goes out to Mike Valle who is definitely strutting his sartorial stuff these days.

Bobby Whitlock and Eric Clapton, Bell Bottom Blues.  Sticking with the 'blue' theme:

Bobby Vinton, Blue Velvet.  Check out the Lana Del Rey version.  And of course, this from the moody & mesmerizing David Lynch flick.

Carl Perkins, Blue Suede Shoes.  The Perry Como Show (sic!), 1956.

Mitch Ryder, Devil with the Blue Dress On

Jimmy Clanton, Venus in Blue Jeans, 1962

Bob Dylan, Leopard-Skin Pill-Box Hat

Bob Dylan, Boots of Spanish Leather

Del Shannon, Hats Off to Larry

Bobby Bare, Long Black Veil

Jane Russell, Buttons and Bows

Johnny Cash, Man in Black

Big Bopper, Chantilly Lace, 1958

But:

Can you judge a man by the way he wears his hair?
Can you read his mind, by the clothes that he wears?
Can you see a bad man by the pattern on his tie?
Then Mr. You're a Better Man Than I!

Saturday Night at the Oldies: Some 1940’s Proto-Rock

Freddie Slack and Will Bradley Trio (1940), Down the Road A Piece.

If you like to boogie woogie, I know the place.
It's just an old piano and a knocked out bass.
The drummer man's a guy they call Eight Beat Mack.
And you remember Doc and old "Beat Me Daddy" Slack.

Man it's better than chicken fried in bacon grease
Come along with me, boys, it's just down the road a piece.

Ella Mae Morse (1945), The House of Blue Lights.  Shows that 'square' and 'daddy-o' and 'dig' were already in use in the '40s.  I had been laboring under the misapprehension that this patois first surfaced in Beat/Beatnik circles in the '50s.

St. Valentine’s Day at the Oldies: Love and Murder

We'll start with murder.  David Dalton (Who Is That Man? In Search of the Real Bob Dylan, Hyperion 2012, pp. 28-29, hyperlinks added!):

Most folk songs had grim, murderous content (and subtext). In Pretty Polly a man lures a young girl from her home with the promise of marriage,and then leads the pregnant girl to an already-dug grave and murders her.  In Love Henry, a woman poisons her unfaithful lover, observed by an alarmed parrot that she also tries to kill. So it was a bit bizarre that these songs should become part of the sweetened, homogenized new pop music.

[. . .]

The original folk songs were potent, possessed stuff, but the folk trios had figured out how to make this grisly stuff palatable, which only proved that practically anything could be homogenized. Clean-cut guys and girls in crinolines, dressed as if for prom night, sang ancient curse-and-doom tales.  Their songs had sweet little melodies, but as in nursery rhymes, there was a dark gothic undercurrent to them — like Ring Around the Rosies, which happens to be a charming little plague song.

The most famous of these folk songs was the 1958 hit Tom Dooley, a track off a Kingston Trio album which set off the second folk revival [the first was in the early '40s with groups like the Weavers] and was Dylan's initial inspiration for getting involved in folk music.  [I prefer Doc Watson's version.] And it was the very success of the syrupy folk trios that inspired Dylan's future manager to assemble one himself: Peter, Paul and Mary.  They would make Dylan, the prophet of the folk protest movement, a star and lead to consequences that even he did not foresee.  Their version of Blowin' in the Wind would become so successful that it would sound the death knell for the folk protest movement.  Ultimately there would be more than sixty versions of it, "all performing the same function," as Michael Gray says, of "anesthetizing Dylan's message."

Be that as it may, it is a great song, one of the anthems of the Civil Rights movement.  Its power in no small measure is due to the allusiveness of its lyrics which deliver the protest message without tying it to particular events.  It's topical without being topical and marks a difference between Dylan, and say, Phil Ochs.

And now for some love songs.

Gloria Lynne, I Wish You Love.  A great version from 1964.  Lynne died at 83 in 2013.  Here's what Marlene Dietrich does with it.

Ketty Lester, Love Letters.  Another great old tune in a 1962 version.  The best to my taste.

Three for my wife.  An old Sam Cooke number, a lovely Shirelles tune, and my favorite from the Seekers.

Addenda:

1. Keith Burgess-Jackson quotes Jamie Glazov on the hatred of Islamists and leftists for St. Valentine's Day.  Another very interesting similarity between these two totalitarian movements.  Recalling past inamorata while listening to sentimental songs  — is this not the height of bourgeois self-indulgence when you should be plotting ways to blow up the infidel or bring down capitalism?  But we who defend the private life against totalitarian scum must be careful not to retreat too far into the private life.  A certain amount of activism and engagement is necessary to keep the totalitarians in check.

2. On Thomas Merton: “All the love and all the death in me are at the moment wound up in Joan Baez’s ‘Silver Dagger,’” the man wrote to his lady love in 1966. “I can’t get it out of my head, day or night. I am obsessed with it. My whole being is saturated with it. The song is myself — and yourself for me, in a way.”

Don't sing love songs, you'll wake my mother
She's sleeping here right by my side
And in her right hand a silver dagger,
She says that I can't be your bride.

All men are false, says my mother,
They'll tell you wicked, lovin' lies.
The very next evening, they'll court another,
Leave you alone to pine and sigh.

My daddy is a handsome devil
He's got a chain five miles long,
And on every link a heart does dangle
Of another maid he's loved and wronged.

Go court another tender maiden,
And hope that she will be your wife,
For I've been warned, and I've decided
To sleep alone all of my life.

Saturday Night at the Oldies: Varia

First off, a big 10-4 to the Canadian truckers and their American confreres. The purpose of government is to serve the governed, not oppress them and violate their rights. Political legitimacy derives from the consent of the governed. Pseudo-cons such as George F. Will and his ilk yap and scribble about this concept, but that is as far as it goes for them. The truckers have taken action and put their careers on the line in defense of the rights that the totalitarians are bent on violating.

Eddy Rabbit, Drivin' My Life Away

Dave Dudley, Six Days on the Road

Buck Owens, Truck Drivin' Man

Red Sovine, Phantom 309. Tom Waits' cover

Lynyrd Skynyrd, Truck Drivin' Man

Bob Dylan, Rollin' and Tumblin'

Johnny Rivers, Summer Rain

Saturday Night at the Oldies: Varia and Americana

I post what I like and I like what I post.

Elmore James, Dust My Broom

Doors, Crystal Ship

Clancy Bros., When the Ship Comes In.

Elvis Presley, Marie's the Name of His Latest Flame

Elvis Presley, Spanish Eyes

Bob Dylan, It Takes a Lot to Laugh, It Take a Train to Cry, Cutting Edge take. 

Albert King, Crosscut Saw

Mississippi Sheiks, Sitting on Top of the World

YouTuber comment: "There is enough great music to listen to for a thousand years without ever having to listen to mindless shite if only people would explore the past." That's no shite, son.

Byrds, Chimes of Freedom.  One of Dylan's greatest anthems.

Buffy Sainte-Marie, Cod'ine

An equally powerful version by Janis Joplin

Mike Bloomfield, Carmelita Skiffle

A bar or two is all it takes recognize the signature sound of Michael Bloomfield, Jew, who exemplifies cultural appropriation at its best. My second guitar hero. My first was Dick Dale who, though not a Jew, gave us a version of Misirlou.

Warren Zevon, Carmelita

Billy Joel, Piano Man

Don MacLean, American Pie

 

Saturday Night at the Oldies: More Americana

Tim Hardin, Lady Came from Baltimore

Arlo Guthrie, Percy's Song. Dylan's 1963 original

Byrds, Pretty Boy Floyd

Marty Robbins, El Paso

Bob Dylan, Red Cadillac and a Black Moustache

Bob Luman, Let's Think About Livin'

Charley Ryan, Hot Rod Lincoln, the original.  Before Johnny Bond, before Commander Cody. 

Dave Dudley, Six Days on the Road

Red Sovine, Phantom 309. Tom Waits' cover. YouTuber comment:

I don't know what it is about this particular Tom Waits song. Out of all the music I've heard, this is the only one that tears me up from the first chord. I'm a big boy, all grown-up. But I'm helpless to stop those tears. I've seen my fair share, and more, of pain and suffering and death, and so should be fairly immune to such sentimentality. Many songs are supposedly more tear-jerking, . . .  but NOT ONE moves me like this. Maybe because I used to hitchhike a lot? Maybe because I've seen, and been involved in, several car accidents? Maybe because a trucker friend was drowned when the ferry he was travelling on sunk? I don't know. I've always appreciated, and liked a lot, Tom Waits' compositions and performances, and yet this one song captures me completely, emotionally. Perhaps I'm turning into a softy. More likely, I'm just getting too old for this life. Answers on a postcard, please… (Tom Foyle)

Yes, one can get too old for this life.

Saturday Night at the Oldies: Americana

Buffy Sainte-Marie, I'm Gonna be a Country Girl Again

Hoyt Axton, Greenback Dollar

Nanci Griffith, Boots of Spanish Leather

16 Horsepower, Wayfaring Stranger

Stanley Bros., Rank Strangers

Bob Dylan, I am a Lonesome Hobo. Have you heard this version?

Bob Dylan, As I Went Out One Morning

Highwaymen, The City of New Orleans

Kenny Rogers, The Gambler

Buffy Sainte-Marie, Cod'ine

Bob Dylan, Only a Hobo, 1963

Saturday Night at the Oldies: Out with the Old, In with the New

Happy New Year, dear readers. I wish you all the best for the coming year. 

Neil Young, Old Man 

Bob Seger, Old Time Rock and Roll. Does it really soothe the soul? Or does it stimulate something 'south' of the soul? If the soul has a bodily locus or point of attachment, where would it be? But I am done thinking for the day. Time to feel. Balance in all things, including balance.

The Band, The Night They Drove Old Dixie Down

Tom T. Hall, Old Five and Dimers Like Me

John Fogerty, The Old Man Down the Road

Ray Charles, Ol' Man River

Bob Dylan, New Morning

Eagles, New Kid in Town

And many more . . . .

Such Sweet Sorrow

Part of what makes "parting such sweet sorrow" (Shakespeare, Romeo and Juliet) is the realization that one may never see the beloved again alive. Death presides over all of life; in leave-taking he steps out of the shadows. You see the glint of his scythe from the corner of the eye.

In the twilight glow, I see her
Blue eyes crying in the rain;
As we kissed goodbye and parted,
I knew we'd never meet again.

Love is like a dying ember,
Only memories remain;
Through the ages I'll remember,
Blue eyes crying in the rain.

Now my hair has turned to silver,
All my life I've loved in vain;
I can see her star in heaven,
Blue eyes crying in the rain.

Someday when we meet up yonder,
We'll stroll hand in hand again;
And in a land that knows no parting,
Blue eyes crying in the rain.

Blue eyes crying in the rain.

Written by Fred Rose and first recorded by Roy Acuff in 1947. Numerous covers.

A little known version by Ramblin' Jack Elliot.