Showing posts with label doo wop. Show all posts
Showing posts with label doo wop. Show all posts

Saturday, April 02, 2011

Once Again, When Be-Bop Bopped In The Doo Wop Night- “Street Corner Serenade II”- A CD Review

***Once Again, When Be-Bop Bopped In The Doo Wop Night- “Street Corner Serenade II”- A CD Review
http://www.youtube.com/watch?v=9rHqV3YMTP8&feature=related

Click on the headline to link ot a YouTube film clip of the Harptones performing Life Is But A Dream.


CD Review

The Rock ‘n’ Roll, Era: Street Corner Serenade, Volume II, Time-Life Music, 1992

Sure I have plenty to say, as I mentioned in a review of Volume One of this two volume Street Corner Serenade set, about early rock ‘n’ roll, now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough, considering its effect on us on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standards, but get this, you could place it near your ear and have your own private out loud without parental scuffling in the background. Yes, sainted, sanctified techno-guru. No question.

What doo-wop did though down in our old-time working class neighborhood, and again it was not so much by revelation as by trial and error is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things when papas were out of work, or were one step away from that dreaded unemployment line, and there was trouble just keeping the wolves from the door? Sure, some kids, some kids like my “home boy” (no, not a term we used at the time) elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers on Why Do Fools Fall In Love was mad to do the doo-wop and make his fame and fortune.

The cover art on this compilation shows a group of young black kids, black guys, who look like they are doing their doo wop on some big city street corner. And that makes sense reflecting the New York City-derived birth of doo-wop and that the majority of doo-wop groups that we heard on AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope to be discovered and make more than just a 1950s musical jail-breakout. Moreover, this cover art also shows, and shows vividly, what a lot of us guys were trying to do-impress girls (and maybe visa-versa for girl doo-woppers but they can tell their own stories).

Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you did too (except girls just switch around what I just said). Ya, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do it, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. What do you think we would do? We knew nothing of keys and pauses, of time, pitch, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key, voice on the low.) Whether we did it well or poorly, guess what, as the hot day turned into humid night, and the old sun went down just over the hills, first a couple of girls, then a couple more, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. And swoony and moony was just fine. And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the songs in this doo-wop compilation could be heard in that airless night.

The stick outs here on Volume Two which is not quite as good as the first volume overall reflecting, I think, that like in other genres, there were really only so many doo-wop songs that have withstood the test of time: Life Is But A Dream (which with my voice really changing I kept very, very low on), The Harptones; Gloria ( a little louder from me on this one), The Cadillacs; Six Nights A Week (not their best 16 Candles is), The Crests: and, A Kiss From Your Lips, The Flamingos.

Monday, March 21, 2011

Those Oldies But Goodies…Out In The Be-Bop ‘50s Song Night- The Shirelles “Will You Still Love Me Tomorrow?

Click on the headline to link to a YouTube film clip of The Shirelles performing the classic Will You Still Love Me Tomorrow?.
Markin comment:

This is another tongue-in-cheek commentary, the back story if you like, in the occasional entries under this headline going back to the primordial youth time of the 1950s with its bags full of classic rock songs for the ages.

Will You Still Love Me Tomorrow? Lyrics

Artist:Carole King

Will You Still Love Me Tomorrow?

Tonight you're mine completely,
You give your love so sweetly,
Tonight the light of love is in your eyes,
But will you love me tomorrow?

Is this a lasting treasure,
Or just a moment's pleasure,
Can I believe the magic of your sighs,
Will you still love me tomorrow?

Tonight with words unspoken,
You said that I'm the only one,
But will my heart be broken,
When the night (When the night)
Meets the morning sun.

I'd like to know that your love,
Is love I can be sure of,
So tell me now and I won't ask again,
Will you still love me tomorrow?
Will you still love me tomorrow?
*****
Christ, finally a teen-oriented set of lyrics that you can sink your teeth into. A teen angst, teen alienation, teen love question that was uppermost in all our minds, one way or the other, sex. Ya, I don’t know about you but I was getting kind of tired, and Billie, William James Bradley, my old schoolboy friend, elementary schoolboy friend from the old Adamsville projects days was too, of these outlandish side issue things. Like the whereabouts of Eddie, his intentions, his financial condition, his ability to write and so on in Eddie My Love. Or the dumb cluck bimbo, as old Billie called her in Teen Angel who didn’t have enough sense to know that Mr. Right, Mr. High School Right, gave her some cheapjack class ring when she went running back to the car, a car stuck, by the way, on some lonesome railroad track, with the train bearing down as far as we know in the story. Needless to say said bimbo did not make it. Or how about the forlorn lover, almost like in some Greek mythical tragedy, in Endless Sleep who after some spat decided that life was not worth living and goes down to the sea, our homeland the sea, and is ready to desecrate that space by ending it all and then giving a siren call to her lover boy to join her. Even Billie, sympathetic as he was to her plight, had to balk at that one.

No today we are in pure teen angst territory and rightly so. Back in those days what we did not, most of us anyway, know about sex, about the “birds and the bees”, about babies and where they came from, and how to protect against having them, would have filled volumes. Still, we were, most of us anyway, crazy to know more about sex, and do something about it. Whatever that was. Come on now, it was natural, natural as hell. Of course as the lyrics here indicate there was a price to be paid. See kids, meaning about anyone from thirteen to eighteen (maybe older even) were NOT suppose to do it, do the do I mean, and I guess if you listened to parents or teachers not even to think about it. But here is the dilemma in this story. Teens did it, and were anxious about that fact, for lots of reasons.

Obviously the most pressing question in 1960, the time of this song and the time just before the news of “the pill” got out (what “the pill” was you know, or should know, so I won’t go on about that) was getting pregnant, girls getting pregnant. So the disinformation, no information, no talk to your parents about it because they are afraid to talk about information, getting what you know on the streets information, really disinformation all over was part of it. But, and I think this is what the lyrics really speak to, it was as much about reputation, a girl’s reputation, about your good name, and about whether you were “easy.” See guys could be stud-of-the-week and, maybe mother, his mother, wouldn’t like it but everybody under eighteen saw you as cool. But gals were either virgins, known far and wide as such and don’t even bother messing with them, or willing but not wanting to be seen as “easy” held themselves back. And, while I do not know about other neighborhoods although I suspect the same was true, our mainly Irish and Italian working class Roman Catholic, made a very big issue out of the two, at least parents and gossip held forth that way.

Still when you went out on a date, a serious date, maybe to a dance, maybe to some party, maybe just down to the seashore and everything is all right to “pet,” or whatever, this question, this teen question of questions, always came up when the lights went down low. How many "no's" are there in the universe? And then some night some rainy night maybe, or maybe after that last dance and you held each other close, or maybe, you have a shot of booze, or, I don’t know, maybe you just felt like it because it was a warm spring evening and you were young, and life was just fine that day, or maybe your guy asked you to go steady, or some solid, teen solid thing like that, you said, “let’s see what it is all about.” And your guy, your ever-loving’ guy, your ever-loving’ horny guy was more than willing to take you for the ride. But then, in the afterglow, you had your doubts, especially in the wee morning hours when you knew you were going to get hell for being out so late. And maybe, that cold break of day, got you to thinking about what the girls in the "lav" would say, or what your guy will tell his friends, his snickering friends, and you get the nervous doubts about your course. Ya, this song speaks to that whole pre-sexual revolution generation, and maybe not so far off for teens today. Ms. King and friends certainly asked the right question, that’s for damn sure.

Sunday, February 27, 2011

***When Be-Bop Bopped In The Doo Wop Night- “Street Corner Serenade”- A CD Review

Click on the headline to link to a YouTube film (From American Bandstand) of The Classics performing the old time classic ( I think originally from The Mills Brothers) , Till Then.

CD Review

The Rock ‘n’ Roll, Era: Street Corner Serenade, Time-Life Music, 1992


Sure I have plenty to say about early rock ‘n’ roll, now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough, considering its effect on us on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standard’s, but get this you could place it near your ear and have your own private out loud without parental scuffling in the background. Yes, sainted, sanctified techno-guru. No question.

What doo-wop did though down in our old-time working class housing projects neighborhood, and again it was not so much by revelation as by trial and error, is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things when papas were out of work, or were one step away, and there was trouble just keeping the wolves from the door. Sure, some kids, some kids like my home boy elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers was mad to do the doo-wop and make his fame and fortune.

The cover art on this compilation shows a group of young black kids, black guys, who look like they are doing their doo wop on some big city street corner. And that makes sense reflecting the New York City-derived birth of doo-wop and that the majority of doo-wop groups that we heard on the AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope, to be discovered and make more than just a 1950s musical jail-breakout of their lives. Moreover, this cover art also shows, and shows vividly, what a lot of us guys were trying to do-impress girls (and maybe viz-a-versa for girl doo-woppers but they can tell their own stories).

Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you did too (except remember girls just switch around what I just said). Ya, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do things, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. We knew nothing of keys and pauses, of time, notes, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key voice on the low, on the very low.) Whether we did it well or poorly, guess what, as the hot sun day turned into humid night, and the old sun went down just over the hills, first a couple of girls, then a couple more, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. And swoony and moony was just fine. And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the songs in this doo-wop compilation could be heard in that airless night. The stick outs here: Deserie, The Charts; Baby Blue, The Echoes; Till Then, The Classics; Tonight (Could Be The Night), The Velvets.

Wednesday, February 09, 2011

***Out In The Be-Bop 1950s Night- Out In The Jukebox Saturday Night - A CD Review

Click on the headline to link to a YouTube film clip of The Platters performing the juke-box Saturday night classic, Only You.

CD Review

The Rock ‘N’ Roll Era: The 50’s: Keep On Rockin’, various artists, Time-Life Music, 1988

Recently I, seemingly, have endlessly gone back to my early musical roots in reviewing various compilations of a Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.

And we had our own little world, or as some hip sociologist trying to explain that Zeitgeist today might say, our own sub-group cultural expression. I have already talked about the pre 7/11 mom and pop corner variety store hangout with the tee-shirted, engineered-booted, cigarette (unfiltered) hanging from the lips, Coke, big sized glass Coke bottle at the side, pinball wizard guys thing. And about the pizza parlor jukebox coin devouring, playing some “hot” song for the nth time that night, hold the onions I might get lucky tonight, dreamy girl might come in the door thing. Of course, the soda fountain, and…ditto, dreamy girl coming through the door thing, merely to share a sundae, natch. And the same for the teen dance club, keep the kids off the streets even if we parents hate their damn rock music, the now eternal hope dreamy girl coming in the door, save the last dance for me thing.

Needless to say you know more about middle school and high school dance stuff, including hot tip “ inside” stuff about manly preparations for those civil wars out in the working class neighborhood night, than you could ever possibly want to know, and, hell, you were there anyway (or at ones like them). Moreover, I clued you in, and keep this quiet, about sex, or rather I should say doin’ the do in case the kids are around, and about the local “custom” (for any anthropologists present) of ocean-waved Atlantic “watching the submarine races.”

Whee! That’s maybe enough memory lane stuff for a lifetime, especially for those with weak hearts. But, no, your intrepid messenger feels the need to go back indoors again and take a little different look at that be-bop jukebox Saturday night scene as it unfolded in the late 1950s and early 1960s. Hey, you could have found the old jukebox in lots of places in those days. Bowling alleys, drugstores (drugstores with soda fountains- why else would healthy, young, sex-charged high school students go to such an old-timer-got-to-get medicine-for-the-arthritis place. Why indeed, although there are secrets in such places that I will tell you about some other time when I’m not jazzed up to go be-bop juke-boxing around the town.), pizza parlors, drive-in restaurants, and so on. Basically any place where kids were hot for some special song and wanted to play it until the cows came home. And had the coins to satisfy their hunger.

A lot of it was to kill time waiting for this or that, although the basic reason was these were all places where you could show off your stuff, and maybe, strike up a conversation with someone who attracted your attention as they came in the door. The cover artwork on this compilation shows dreamy girls waiting for their platters (records, okay) to work their way up the mechanism that took them from the stack and laid them out on the player. There is your chance, boy, grab it. Just hanging around the machine with some cashmere-sweater-ed, beehive-haired (or bobbed, kind of), well-shaped brunette (or blond, but I favored brunettes in those days) chatting idly was worth at least a date (or, more often, a telephone number to call). Not after nine at night though or before eight because that was when she was talking to her boy friend. Lucky guy, maybe.

But here is where the real skill came in. Just hanging casually around the old box, especially on a no, or low, dough day waiting on a twist (slang for girl in our old working class neighborhood) to come by and put her quarter in (giving three or five selections depending what kind of place the jukebox was located in) talking to her friends as she made those selections. Usually the first couple were easy, some old boy friend memory, or some wistful tryst remembrance, but then she got contemplative, or fidgety, over what to pick next. Then you made your move-“Have you heard Only You. NO! Well, you just have to hear that thing and it will cheer you right up. Or some such line. Of course, you wanted to hear the damn thing. But see, a song like that (as opposed to Chuck Berry’s Sweet Little Rock and Roller, let’s say) showed you were a sensitive guy, and maybe worth talking to … for just a minute, I got to get back to my girlfriends, etc, etc. Oh, jukebox you baby. And guess what. On that self-same jukebox you were very, very likely to hear some of the songs on the compilation on this CD: Here are the stick outs (and a few that worked some of that “magic” mentioned above on tough nights):

Oh Julie, The Crescendos (a great one if you knew, or thought you knew, or wanted to believe that girl at the jukebox’s name was Julie); Lavender Blue, Sammy Turner (good talk song especially on the word play); Sweet Little Rock and Roller, Chuck Berry (discussed above, and worthy of consideration if your tastes ran to those heart-breaking little rock and rollers. I will tell you about the ONE time it came in handy sometime); You Were Mine, The Fireflies; Susie Darlin’, Robin Luke (ditto the Julie thing above); Only You, The Platters (keep this one a secret, okay, unless you really are a sensitive guy).

Sunday, January 23, 2011

Those Oldies But Goodies…Out In The Be-Bop ‘50s Song Night-Mark Dinning's "Teen Angel"

Click on the headline to link to a YouTube film clip of Mark Dinning performing Teen Angel.

Markin comment:


This space is noted for politics mainly, and mainly the desperate political fight against various social, economic and moral injustices and wrongs in this wicked old world, although the place where politics and cultural expression, especially post-World War II be-bop cultural expression, has drawn some of my interest over the past several years. The most telling example of that interest is in the field of popular music, centrally the blues, city and country, good woman on your mind, hard working, hard drinking blues and folk music, mainly urban, mainly protest to high heaven against the world’s injustices smite the dragon down, folk music. Of late though the old time 1950s kid, primordial, big bang, jail-break rock and roll music that set us off from earlier generations has drawn my attention. Mostly by reviewing oldies CDs but here, and occasionally hereafter under this headline, specifically songs that some future archaeologists might dig up as prime examples of how we primitives lived ,and what we listened to back in the day.
************
MARK DINNING
"Teen Angel"
(Jean Surrey & Red Surrey)
Teen angel, teen angel, teen angel, ooh, ooh
That fateful night the car was stalled
upon the railroad track
I pulled you out and we were safe
but you went running back
Teen angel, can you hear me
Teen angel, can you see me
Are you somewhere up above
And I am still your own true love
What was it you were looking for
that took your life that night
They said they found my high school ring
clutched in your fingers tight
Teen angel, can you hear me
Teen angel, can you see me
Are you somewhere up above
And I am still your own true love
Just sweet sixteen, and now you're gone
They've taken you away.
I'll never kiss your lips again
They buried you today
Teen angel, can you hear me
Teen angel, can you see me
Are you somewhere up above
And I am still your own true love
Teen angel, teen angel, answer me, please
************
First off, get used to hearing ad finitum about angels, earth-bound, heaven-sent, hell-sent, angelic, yes, angelic, heart-broken, heart-breaking angels, and how many angels can fit on the head of a pin, Enough angels to make old revolutionary Puritan poet John Milton's angel fights in Paradise Lost seem, well, punk by comparison. That is if you really want to know about 1950s rock subject matter, all of the above, naturally being teen angels (as if there were any other kind), maybe even Milton's, and that brings us to the heart of this Mark Dinning teen angst classic, Teen Angel.

Frankly, I am bewildered by the bizarre lyrics and story line here, although it rates high, very high on my newly constructed teen song angst-o-meter. Peggy and Billy, okay I know they are not named, or maybe nameable, in the universal teen night but let’s call them that to give name to the kinds of fools we are dealing with, were stranded out on railroad tracks in old Billy’s apparently dead-ender car, probably his father’s hand-me-down. That should have been the first tip-off to Peggy. There were a million guys in town with “boss” cars, including Linc with his ’57 cherry red Chevy by the look on his face every time you passed by, who would have been more than happy to give you a tumble.

Or maybe Billy just didn’t have gas dough and the clunker ran out, unfortunately, ran out on that old dreaded isolated track with all those signs saying don’t stop, please don’t stop, on the tracks because even if trains were going out of style in the big 1950s freeway car exodus they still ran every now and again. No dough Billy, christ I knew seven guys (although not Linc) who had plenty of dough , or could get it, to show you a good time, including Frankie (and Frankie, supposedly only had eyes for his ever lovin’ sweetie, Joanne).

Okay, the ways of love are strange, no question, so Billy it was. But, jesus, he pulled you out, you were safe and then you went ballistic over some f-----g, cheapjack ring, some cheapjack fake gold (like about four carat gold filigree, maybe) with fako diamond and barely legible stuff written on it class ring. And you knew, since you had been out with Billy for a while by then that it was cheapo. Come on you couldn’t have been that naïve. Now you have left Billy all choked up over his teen angel lost, and I know for a fact that he stayed that way, for a while. But just recently he seems to be on the mend because didn’t Tommy T. see him and Linda Lou, ya, sweet “hot stuff’ Linda Lou, walking hand and hand into Kay’s jewelry store, the upscale jewelry store. I wonder what they were looking for?

Friday, December 24, 2010

**Out In The Be-Bop 1950s Night- A Fragment Of Working Class Culture-Out In The School Dance Night- A CD Review

Click on the headline to link to a YouTube film clip of the Teen Angels performing Eddie, My Love.

CD Review

The Rock ‘N’ Roll Era: 1956: various artists, Time-Life Music, 1987


I, seemingly, have endlessly gone back to my early musical roots in reviewing this Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.

And we, we small-time punk in the old-fashioned sense of that word, we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not Billie who I will talk about some other time, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.

Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears, at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Ya right, Ma, like Patti Page or Bob (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) Crosby and The Bobcats were supposed to satisfy our jail break cravings.

But can you blame me, or us, for our jail-break visions and our clandestine subterranean life-transistor radio dreams of lots of girls (or boys as the case may be), lots of cars, and lots of money if we could just get out from under that parental noise. Now this Time-Life series has many compilations but, as if to prove my point beyond discussion, the year 1956 has two, do you hear me, two CDs to deal with that proposition that I mentioned above. And neither includes Elvis, Jerry Lee, Bo Diddley or some other stuff that I might have included. I already reviewed the other 1956 compilation previously but here are the stick outs from this selection:

Blue Suede Shoes, Carl Perkins (Elvis covered it and made millions but old Carl had a better old rockabilly back beat on his version); In The Still Of The Night, The Five Satins (a doo wop classic that I am humming right this minute, sha dot do be doo, sha dot do be doo or something like that spelling, okay); Eddie, My Love, The Teen Queens (incredible harmony, doo wop back-up, and, and “oh Eddie, please don’t make me wait too long” as part of the lyrics, Whoa!); Roll Over Beethoven, Chuck Berry ( a deservedly early break-out rock anthem. Hell I thought it was big deal just to trash Patti Page old Chuck went after the big boys.); Be-Bop-a-Lula, Gene Vincent (the guy was kind of a one hit wonder but Christ what a one hit, "ya, she’s my baby now"); Blueberry Hill, Fats Domino (that old smooth piano riffing away); Rip It Up, Little Richard (he/she wild man Richard rips it up; Young Love, Sonny James ( dreamy stuff that those giggling girls at school loved, and so you "loved" too); Why Do Fools Fall In Love?, Frankie Lymon and the Teenagers (for a minute the king be-bop, doo wop teenage angel boy. Everybody wanted to be the doo wop king or queen); See You Later, Alligator, Bill Haley and The Comets (ya, these “old guys” could rock, especially that sax man. Think about it people still use the expression “see you later alligator”); and Since I Met You Baby, Ivory Joe Hunter (every dance pray, every last dance pray, oh my god, let them play Ivory Joe at the end so I can dance close with that certain she I have been eying all night).

Note: I have mentioned previously the excellent album cover art that accompanies each Time-Life classic rock series compilation. Not only does it almost automatically evoke long ago memories of red hot youth, and those dreams, those steamy dance night dreams too, but has supplied this writer with more than one idea for a commentary. This 1956 compilation album cover is in that same vein. The cover shows what looks like a local cover band from the 1950s getting ready to perform at the local high school dance. Although the guys, especially the lead vocalist, look a little skittish they know they have to make a good showing because this is their small time chance at the big time. Besides there are about six thousand other guys hanging around in their fathers’ garages ready and willing to step up if the Danny and the Bluenotes fall flat.

This live band idea is actually something of a treat because, from what I recall, many times these school dance things survived on loud record playing dee-jay chatter, thus the term “record hop.” From the look of it the school auditorium is the locale (although ours were inevitably held in the school gym), complete with the obligatory crepe, other temporary school-spirit related ornaments and a mesmerized girl band groupie to give the joint a festive appearance.

More importantly, as I said before, at least for the band, as they are to be warming up for the night’s work, is that they have to make their mark here (and at other such venues) and start to get a following if they want to avoid another dreaded fate of rock life. Yes, the dreaded fate of most bands that don’t break out of the old neighborhood, the fate of having to some years down the road play at some of the students they are performing for today children’s birthday parties, bar mitzvahs, weddings and the like. That thought should be enough to keep these guys working until late in the night, jamming the night away, disturbing some old fogy Frank Sinatra fans in the neighborhood, perfecting those covers of Roll Over Beethoven, Rip It Up, Rock Around The Clock and Jailhouse Rock. Go to it boy, you bet.

Sunday, September 05, 2010

*Just When You Thought It Was Safe To…, Not Bop-Doo-Wop-An Encore

Click on the headline to link to a YouTube film clip of the Capris performing There's A Moon Out Tonight.

CD Review

Best Of Old Town Doo Wop, Various artists, 2-CD set, Ace Records


Confused by the headline? Don’t be, all it does is refer to a previous series of Oldies But Goodies (1950s-1960s oldies but goodies, just so you know) CD reviews in this space. That gargantuan task required shifting through ten, no, fifteen volumes of material that by the end left me limping, and crying uncle. See, as I explained in the last few reviews of the series, just when I thought I was done at Volume Ten I found that it was a fifteen, fifteen count ‘em, volume series. In any case I whipped off those last five reviews in one shot to be done with it.

The reason for such haste at that point seemed self-explanatory. After all how much can we rekindle, endlessly rekindle, memories, teen memories, teen high school memories mainly, from a relatively short, if important, part of our lives, even for those who lived and died by the songs (or some of the songs) in the reviewed compilations. How many times can one read about guys with two left feet, the social conventions of dancing close, wallflowers, the avoidance of wallflower-dom, meaningful sighs, meaningless sighs, the longings for certain obviously unattainable shes (or hes), the trials and tribulations associated with high school gymnasium crepe paper-adorned dances, moonlight-driven dream thoughts of after dance doings, and hanging around to the bitter end for that last dance of the night to prove... what. And there and then I threw in the towel, I thought.

Well now I have recovered enough to take a little different look at the music of this period-the doo wop sound that hovered in the background radio of every kid, every kid who had a radio, a transistor radio, to keep parental prying ears at arms length, and who was moonstruck enough to have been searching, high and low, for a sound that was not just the same old, same old that his or her parents listened to. Early rock and rock, especially that early Sun Record stuff, and plenty of rhythm and blues met that need but so did, for a time, old doo wop-the silky sounds of lead singer-driven, lyrics-driven, vocal-meshing harmony that was the stuff of teenage “petting” parties and staid old hokey school dances, mainly, in my case, elementary school dances.

As I mentioned in the oldies but goodies reviews not all of the material put forth was good, nor was all of it destined to, or meant to be, playable fifty or sixty years later on some “greatest hits” compilation but some of songs had enough chordal energy, lyrical sense, and sheer danceability, slow danceabilty, to make any Jack or Jill start snapping fingers then, or now. As I asked in that previous series and is appropriate to ask here as well what about the now seeming mandatory question of the best song in the compilation? The one that stands out as the inevitable end of the night high school dance (or maybe even middle school) song? The song that you, maybe, waited around all night for just to prove that you were not a wallflower, and more importantly, had the moxie to, mumbly-voiced, parched-throated, sweaty-handed, asked a girl to dance (women can relate their own experiences, probably similar).

Here The Capris’ There’s A Moon Out Tonight fills the bill. And, yes, I know, this is one of those slow ones that you had to dance close on. And just hope, hope to high heaven, that you didn’t destroy your partner’s shoes and feet. Well, as I have noted before, one learns a few social skills in this world if for no other reason that to “impress” that certain she (or he for shes, or nowadays, just mix and match your sexual preferences) mentioned above. I did, didn’t you?

Saturday, September 04, 2010

*Once Again, Just When You Thought It Was Safe To…, Not Bop-Doo-Wop

Click on the headline to link to a YouTube film clip of the Capris performing There's A Moon Out Tonight.

CD Review

Old Town Doo Wop, Volume Five, Various artists, Ace Records


Confused by the headline? Don’t be, all it does is refer to a previous series of Oldies But Goodies (1950s-1960s oldies but goodies, just so you know) CD reviews in this space. That gargantuan task required shifting through ten, no, fifteen volumes of material that by the end left me limping, and crying uncle. See, as I explained in the last few reviews of the series, just when I thought I was done at Volume Ten I found that it was a fifteen, fifteen count ‘em, volume series. In any case I whipped off those last five reviews in one shot to be done with it.

The reason for such haste at that point seemed self-explanatory. After all how much can we rekindle, endlessly rekindle, memories, teen memories, teen high school memories mainly, from a relatively short, if important, part of our lives, even for those who lived and died by the songs (or some of the songs) in the reviewed compilations. How many times can one read about guys with two left feet, the social conventions of dancing close, wallflowers, the avoidance of wallflower-dom, meaningful sighs, meaningless sighs, the longings for certain obviously unattainable shes (or hes), the trials and tribulations associated with high school gymnasium crepe paper-adorned dances, moonlight-driven dream thoughts of after dance doings, and hanging around to the bitter end for that last dance of the night to prove... what. And there and then I threw in the towel, I thought.

Well now I have recovered enough to take a little different look at the music of this period- the doo wop sound that hovered in the background radio of every kid, every kid who had a radio, a transistor radio, to keep parental prying ears at arms length and who was moonstruck enough to have been searching, high and low, for a sound that was not just the same old, same old that his or her parents listened to. Early rock and rock, especially that early Sun Record stuff, and plenty of rhythm and blues met that need but so did, for a time, old doo wop-the silky sounds of lead singer-driven, lyrics-driven, vocal-meshing harmony that was the stuff of teenage “petting” parties and staid old hokey school dances, mainly, in my case, elementary school dances.

As I mentioned in the oldies but goodies reviews not all of the material put forth was good, nor was all of it destined to, or meant to be, playable fifty or sixty years later on some “greatest hits” compilation but some of songs had enough chordal energy, lyrical sense, and sheer danceability, slow danceabilty, to make any Jack or Jill start snapping fingers then, or now. As I asked in that previous series and is appropriate to ask here as well what about the now seeming mandatory question of the best song in the compilation? The one that stands out as the inevitable end of the night high school dance (or maybe even middle school) song? The song that you, maybe, waited around all night for just to prove that you were not a wallflower, and more importantly, had the moxie to, mumbly-voiced, parched-throated, sweaty-handed, asked a girl to dance (women can relate their own experiences, probably similar).

Here The Capris'Stars In The Sky fills the bill. And, yes, I know, this is one of those slow ones that you had to dance close on. And just hope, hope to high heaven, that you didn’t destroy your partner’s shoes and feet. Well, as I have noted before, one learns a few social skills in this world if for no other reason that to “impress” that certain she (or he for shes, or nowadays, just mix and match your sexual preferences) mentioned above. I did, didn’t you?

Friday, September 03, 2010

*Again, Just When You Thought It Was Safe To…, Not Bop-Doo-Wop

Click on the headline to link to a Youtube film clip of The Earls performing the doo wop classic It's You.

CD Review

Old Town Doo Wop, Volume Four, Various artists, Ace Records


Confused by the headline? Don’t be, all it does is refer to a previous series of Oldies But Goodies (1950s-1960s oldies but goodies, just so you know) CD reviews in this space. That gargantuan task required shifting through ten, no, fifteen volumes of material that by the end left me limping, and crying uncle. See, as I explained in the last few reviews of the series, just when I thought I was done at Volume Ten I found that it was a fifteen, fifteen count ‘em, volume series. In any case I whipped off those last five reviews in one shot to be done with it.

The reason for such haste at that point seemed self-explanatory. After all how much can we rekindle, endlessly rekindle, memories, teen memories, teen high school memories mainly, from a relatively short, if important, part of our lives, even for those who lived and died by the songs (or some of the songs) in the reviewed compilations. How many times can one read about guys with two left feet, the social conventions of dancing close, wallflowers, the avoidance of wallflower-dom, meaningful sighs, meaningless sighs, the longings for certain obviously unattainable shes (or hes), the trials and tribulations associated with high school gymnasium crepe paper-adorned dances, moonlight-driven dream thoughts of after dance doings, and hanging around to the bitter end for that last dance of the night to prove... what. And there and then I threw in the towel, I thought.

Well now I have recovered enough to take a little different look at the music of this period- the doo wop sound that hovered in the background radio of every kid, every kid who had a radio, a transistor radio, to keep parental prying ears at arms length and who was moonstruck enough to have been searching, high and low, for a sound that was not just the same old, same old that his or her parents listened to. Early rock and rock, especially that early Sun Record stuff, and plenty of rhythm and blues met that need but so did, for a time, old doo wop-the silky sounds of lead singer-driven, lyrics-driven, vocal-meshing harmony that was the stuff of teenage “petting” parties and staid old hokey school dances, mainly, in my case, elementary school dances.

As I mentioned in the oldies but goodies reviews not all of the material put forth was good, nor was all of it destined to, or meant to be, playable fifty or sixty years later on some “greatest hits” compilation but some of songs had enough chordal energy, lyrical sense, and sheer danceability, slow danceabilty, to make any Jack or Jill start snapping fingers then, or now. As I asked in that previous series and is appropriate to ask here as well what about the now seeming mandatory question of the best song in the compilation? The one that stands out as the inevitable end of the night high school dance (or maybe even middle school) song? The song that you, maybe, waited around all night for just to prove that you were not a wallflower, and more importantly, had the moxie to, mumbly-voiced, parched-throated, sweaty-handed, asked a girl to dance (women can relate their own experiences, probably similar).

Here The Earls'It's You fills the bill. And, yes, I know, this is one of those slow ones that you had to dance close on. And just hope, hope to high heaven, that you didn’t destroy your partner’s shoes and feet. Well, as I have noted before, one learns a few social skills in this world if for no other reason that to “impress” that certain she (or he for shes, or nowadays, just mix and match your sexual preferences) mentioned above. I did, didn’t you?

Friday, July 30, 2010

*The Last Waltz- The Never-Ending Review Tour-Coming Of Age, Period- Oldies But Goodies

Click on the headline to link to a YouTube film clip of the Dixie Cups performing the classic Chapel Of Love.

CD Review

Oldies But Goodies, Volume Eleven, Original Sound Record Co., 1986


Note: The term “last waltz” used in the headline is used here as a simple expression of the truth. Just when I thought I had completed this “Oldies But Goodies” series at Volume Ten I now find that this is a fifteen, fifteen count ‘em, volume series. Therefore I am whipping off these last five in one day and be done with it. After all how much can we rekindle, endlessly rekindle, memories from a relatively short, if important, part of our lives, even for those who lived and died by the songs (or some of the songs) in these compilations. How many times can one read about wallflowers, sighs, certain shes (or hes), the moonlight of high school dances (if there was any) and hanging around to the bitter end for that last dance of the night to prove... what. Bastante! Enough!

******
I have been doing a series of commentaries elsewhere on another site on my coming of political age in the early 1960s, but here when I am writing about musical influences I am just speaking of my coming of age, period, which was not necessarily the same thing. No question that those of us who came of age in the 1950s are truly children of rock and roll. We were there, whether we appreciated it or not at the time, when the first, sputtering, musical moves away from ballady Broadway show tunes and rhymey Tin Pan Alley pieces hit the radio airwaves. (If you do not know what a radio is then ask your parents or, ouch, grandparents, please.) And, most importantly, we were there when the music moved away from any and all music that your parents might have approved of, or maybe, even liked, or, hopefully, at least left you alone to play in peace up in your room when rock and roll hit post- World War II America teenagers like, well, like an atomic bomb.

Not all of the material put forth was good, nor was all of it destined to be playable fifty or sixty years later on some “greatest hits” compilation but some of songs had enough chordal energy, lyrical sense, and sheer danceability to make any Jack or Jill jump then, or now. And, here is the good part, especially for painfully shy guys like me, or those who, like me as well, had two left feet on the dance floor. You didn’t need to dance toe to toe, close to close, with that certain she (or he for shes). Just be alive…uh, hip to the music. Otherwise you might become the dreaded wallflower. But that fear, the fear of fears that haunted many a teenage dream then, is a story for another day. Let’s just leave it at this for now. Ah, to be very, very young then was very heaven.

So what still sounds good on this CD compilation to a current AARPer, and perhaps to some of his fellows who comprise the demographic that such a 1950s-oriented compilation “speaks” to. Of course, the Maurice Evans click-clack Little Darlin’. The Kingmen’s early rock anthem Louie, Louie. The knife-twisty My Boyfriend’s Back. Naturally, in a period of classic rock numbers, The Everly Brothers When Will I Be Loved? (and about half a dozen of their songs).

But what about the now, seeming mandatory to ask, inevitable end of the night high school dance (or maybe even middle school) song that seems to be included in each CD compilation? The song that you, maybe, waited around all night for just to prove that you were not a wallflower, and more importantly, had the moxie to, mumbly-voiced, parched-throated, sweaty-handed, asked a girl to dance (women can relate their own experiences, probably similar). Here the classic Dixie Cups tune, Chapel Of Love, fills the bill. Hey, I did like this one, especially the harmonies (by the way they stopped the show at the Newport Folk Festival about 15 years with that beauty). And, yes, I know, this is one of the slow ones that you had to dance close on. And just hope, hope to high heaven, that you didn’t destroy your partner’s shoes and feet. Well, one learns a few social skills in this world if for no other reason that to “impress” that certain she (or he for shes, or nowadays, just mix and match your preferences) mentioned above. I did, didn’t you?

**********

Chapel Of Love Lyrics

Goin' to the chapel
And we're gonna get ma-a-arried
Goin' to the chapel
And we're gonna get ma-a-arried
Gee, I really love you
And we're gonna get ma-a-arried
Goin' to the chapel of love

Spring is here, th-e-e sky is blue, whoa-oh-oh
Birds all sing as if they knew
Today's the day we'll say "I do"
And we'll never be lonely anymore because we're

Goin' to the chapel
And we're gonna get ma-a-arried
Goin' to the chapel
And we're gonna get ma-a-arried
Gee, I really love you
And we're gonna get ma-a-arried
Goin' to the chapel of love

Bells will ring, the-e-e sun will shine, whoa-oh-oh
I'll be his and he'll be mine
We'll love until the end of time
And we'll never be lonely anymore because we're

Goin' to the chapel
And we're gonna get ma-a-arried
Goin' to the chapel
And we're gonna get ma-a-arried
Gee, I really love you
And we're gonna get ma-a-arried
Goin' to the chapel of love

Yeah, yeah, yeah, yeah
Goin' to the chapel of love
Yeah, yeah, yeah, yeah
FADE
Goin' to

Sunday, April 18, 2010

*When Doo Wop Bopped-The Music Of The 1950s

Click on the headline to link to a "YouTube" film clip of the Fiestas performing their Doo Wop classic, "So Fine".

CD Review

Old Town Doo Wop, Volume Two, Ace Records, 1992


I have been doing a series of commentaries elsewhere on another site on my coming of political age in the early 1960s, but now when I am writing about musical influences I am just speaking of my coming of age, period, which was not necessarily the same thing. No question those of us who came of age in the 1950s are truly children of rock and roll. We were there, whether we appreciated it or not at the time, when the first, sputtering, moves away from ballady show tunes, rhymey Tin Pan Alley tunes and, most importantly, any and all music that your parents might have approved of, even liked, or at least left you alone to play in peace up in your room hit post World War II America like, well, like an atomic bomb.

Now strictly speaking “Doo Wop” is not really rock and roll, but rather a second cousin to it coming out of the black-dominated rhythm and blues tradition. The fantastic harmonics, precise rhythmic patterns, and smooth lyrics reflect that tradition more than the over-heated, guitar-driven, solo-singer rock performances that drove most of us to the dance floor back in the day. The kind of rock and roll that most of us children of the genre listened to, went wild over and spent that precious disposable income on was the rockabilly, hillbilly, black country blues variation that Sam Phillips and Sun Records first produced in the early 1950s and that Elvis, Carl Perkins, Chuck Berry, and Jerry Lee Lewis came to be exemplars of. But some of us, when we had a little extra cash, definitely bopped “doo wop” as part of our coming of age, especially if some dreamy girl (or guy for shes) was falling all over herself to listen to. Remember to be young was to be ready.

So what still sounds good on this CD compilation to a current AARPer and some of his fellows who comprise the demographic that such 1950s compilations “speak” to. No one came out of the 1950s without having at least listened to “So Fine” by the Fiestas, or maybe less possible their “Our Anniversary. And with Ruth McFadden on “School Boy” Or the very edgy fine “Life Is But A Dream” by the Harptones. Or The Chimes classic, “My Broken Heart”. Now this sub-genre is a very acquired taste, to be sure, but if you need a "doo wop” primer here is a place to start.

SO FINE
THE FIESTAS


So fine, so fine.
So fine, yeah.
My baby's so dog gone fine,
She loves me, come rain, come shine
Oh oh yeah so fine.
she thrills me, she thrills me
She thrills me, yeah.
My baby thrills me all the time.
she sends those chills up and down my spine,
Oh oh yeah so fine.
Well I know
she loves me so.
Well I know,
because my baby tells me so-oh oh so fine.
So fine
So fine, yeah, My baby's so dog gone fine
She sends those chills up and down my spine,
Oh oh yeah, so fine

Friday, February 19, 2010

**An Atlantic Summer's Day, Circa 1960-For Frank, Class Of 1964

Click on the headline to link to a YouTube film clip of the Capris performing their doo-wop classic, There's A Moon Out Tonight. This is sent out by request to Frankie, from the old neighborhood.

Markin, Class Of 1964, comment:

An Atlantic Summer's Day, Circa 1960-For Frank, Class Of 1964

This is the way Frank told me the story, mainly, so it’s really a Frank story that I want to tell you about but around the edges it could be my story, or your story for that matter:

Frank, long, winter-weight black-panted, long sleeve plaid flannel-shirted, thick-soled work boot-shod, de rigueur pseudo-beatnik posing attire, summer or winter, that he thought made him “cool”, at least for the be-bop, look-at-me-I'm-a-real-gone daddy, bear-baiting of the public (and not just the public) that he relished anguished over the job ahead the details of which will concern us later, not now. Melted by the late August sun like some Woolworth’s grilled cheese sandwich, he stood almost immobile, on the Sagamore Street side, looking toward the early morning vacant Welcome Young Field in front of him, as he slowly and methodically pulled out, for about the eighteenth time, or maybe about the eighteen thousandth, a now sweat-soaked, salt-stained, red railroad man’s handkerchief (also de rigueur) to wipe off the new wave of venial sin-producing (at least), swear-to-the-high-heavens-inducing sweat that had formed on his brow.

Frank had, after leaving his own house, already crossed the long-abandoned, rusty-steeled, wooden-tie worn Old Colony railroad tracks that separated the almost sociologically proverbial well-worn, well-trodden “good” from “bad” side of our town, his the “bad”, and mind too (that track, now used as part of the Red Line subway extension system, still stands guardian to that dividing line). He faced, and he knew he faced, even this early in the morning, another day in hell, Frank-ish hell, or so it seemed to him like that was where the day was heading, no question. Another one of those endless, furnace-blasting, dirt-kicking, hard-breathing, nerve-fraying, gates of hell, “dogs days”, August days. Worst, worst for old weather-beaten, you might as well say world-beaten Frank, a fiendish, fierce, frantic, frenzied 1960 teenage August day.

And, like I said, it was not just the weather either, although that was bad enough for anybody whose body metabolism cried out, and cried out loud and clear, for temperate climates, for low humidities, or just the cool, sweet hum of an ocean breeze now and again. But also, plain truth, it was just being a befuddled, beleaguered, bewildered, benighted, be-jesused kid that gummed up the works as well. Frank had it bad. I want to say, if memory does not fail me, that there aren’t double “dog days” like that now, heat-driven, sweltering, suffocating, got-to-break-out-or-bust teenage days, not August days anyway.

But, no, now that I think about it, that’s just not right, not at least if you believe, and you should, all the information about climate change and the rip-roaring way we, meaning you and me, and Frank too, have torn up old Mother Earth without thinking twice about it. Or even once, if you really look around. And about the 21st century angst-filled Franks that you see on those heat-swept streets now, except now the Franks are buried beneath some techno-gadgetry or other, and are not worrying about being be-bop, or real gone daddies, or being “beat”, or about bear-baiting the public or anything like that. But that’s a screed for another day; at least I want to put it off until then. Even writing about this day, this Frank-ish day, right now makes me reach for my own sweaty, dampish handkerchief. Let’s just call it a hot, dusty, uncomfortable, and dirty day and leave it at that.

What’s not “not right” though is that, Frank, a by now finely-tuned, professional quality sullen and also an award-worthy, very finely-tuned sulky teenage boy, usually, waited this kind of day out, impatiently, in his book-strewn, airless, sunless room, or what passed for his room if you don’t count his shared room brother’s stuff. And, maybe, the way Frank told it to me, he might have been beyond waiting impatiently, for he was ready, more than ready, for school to go back into session if for no other reason than, almost automatically come the “dog days”, to get cooled-out from this blazing, never-ending inferno of a heat wave that never failed to drain him of any human juices, creative or not.

And nothing, nothing, in this good, green world, seemingly, could get this black chino-panted, plaid flannel-shirted, salty sweat-dabbled, humidity-destroyed teenage boy out of his funk. Or it would, and I think you would have to agree, have to be something real good, almost a miracle, to break such a devilishly-imposed spell. In any case, as we catch up to him, he is not in his stuffy old bookcase of a room now but there he is walking, in defiance of all good, cool, common sense, long-panted, long-shirted, and long-faced, as I said was his fashionista statement to this wicked old world in those days, across Welcome Young Field on to Hancock Street. On a mission, no less. That is as good a place, the field that is, as any to start this saga.

Now come late August this quirky, almost primitively home-made-like softball field (with adjoining, little used asphalt tennis courts, little used in those days, anyway) was a ghost town during the day. The city provided and funded kids recreation programs were over, the balls and bats, paddles and playground things are now put away for another season, probably also, like Frank, just waiting for that first ring of the school bell come merciful September. The dust this day is thick and unsettled, forming atomic bomb-like powder puffs in the air at the slightest disturbance, like when an odd kid or two makes a short-cut across the field leaving a trail of such baby atomic bomb blasts behind them.

At this early hour the usually game-time firm white lines of the base paths are now broken, hither and yon, to hell from last night's combat, the battle for bragging rights at the old Red Feather gin mill, or something. They await some precious manicure from the Parks Department employees, if those public servants can fight their own lassitude in this heat. And while they are at it they should put some time, some serious patchwork time, fixing the ever-sagging, splintered, termited, or so it seemed on close inspection, but in any case rotted out wooden bleachers that served to corral a crowd on a hot summer’s night. Good luck, men. And if the work is not done, not to worry, the guys who play their damned, loud-noised, argue, argue loudly, over every play with the ever blind umpire, softball under the artificial night lights, if I know them and I do just like Frank does, know the grooves and ridges of the surfaces of the base paths like the backs of their hands, so don’t fret about them.

This field, this Welcome Young Field, by the way, is not just any field, but a field overflowing, torrentially overflowing, with all kinds of August memories, and June and July memories too. Maybe other months as well but those months come readily to mind, hot, sticky, sultry summer mind. Need I remind anyone, at least any Atlantic denizen of a certain age, of the annual Fourth of July celebrations that took place center stage there as far back as misty memory recalled. The mad, frenetic, survival-of-the-fittest dashes for ice cream, the crushed-up lines (boys and girls, separately ) for tonic (aka soda, with names like Nehi, grape and orange, and Hires Root Beer for good measure, for those too young to remember that New Englandism and those brand names), the foot races won by the swift and sure-footed (Frank said he almost won one once but “ran out of gas” just before the finish), the baby carriage parade, and the tired old, but much anticipated, ride on a real pony, and other foolery and frolic as we paid homage to those who fought, and bled, for the Republic. Maybe, maybe paid homage that is. A lot of that part gets mixed up with the ice cream and tonic. (Remember: that’s soda, you can look it up, but I’m telling you all the truth.).

Hell, even that little-used, like I said before little-used in those days, usually glass-strewn but now Parks Department cleaned up asphalt-floored tennis court got a workout as a dance/talent show venue, jerrybuilt stage platform and all. Every 1960 local American Idol wanna-be, misty Rosemary Clooney/McGuire Sisters-like 1940s Come On To My House, Paper Dolls torch singer jumped, literally, on stage to grab the mike and "fifteen minutes (or less)of fame." Needless to say every smoky-voiced male crooner who could make that jump got up there as well, fighting, fighting like a demon for that five dollar first prize, or whatever the payoff was. Later as it got dark, tunes, misty tunes of course, some of them already heard from those "rising stars" like some ill-fated encore, wafted in the night time air from some local band when the Fourth of July turned to adult desires come sundown after we kids had gorged, completely gorged, and feverishly exhausted, ourselves. That story, the dark night, stars are out, moony-faced, he looking for she, she looking for he, and the rest of it, (I don’t have to draw you a diagram, do I?), awaits its own chronicler. I’m just here to tell Frank’s story and that ain’t part of it.

This next thing is part of the story, though. In this field, this bedlam field, as Frank just reminded me, later, after Fourth Of July celebrations became just kids stuff for us, and kind of lame kids stuff at that, we had our first, not so serious, crushes on those glamorous-seeming, fresh-faced, shapely-figured, sweetly-smiling and icily-remote college girls, or at least older girls, who were employed by the Parks Department to teach us kids crafts and stuff in those summer programs that I mentioned before. Or had our first serious crushes on the so serious, so very serious, girls, our school classmates no less, determined to show Frank, Frank of all people, up in the craft-creating (spiffy gimp wrist band-making, pot-holder-for-Ma-making, copper-etching, etc.) department when everyone knew, or should have known, Frank was just letting them win for his own “evil” designs. (And maybe me, maybe I let them "win" too, although I will plead amnesia on this one.) Now that I think of it I might have tried that ruse on the girls myself, there was nothing to it then.

But enough of old, old time flights of fancies. I have to get moving, and moving a little more quickly, if I am ever going to accomplish “my mission”, or ever get Frank out of that blessed, memory-blessed, sanctified, dusty old ball field, sweaty flaming red railroad man’s handkerchief and all. I‘ll let you know about the mission, Frank's mission that is, as I go along like I told you I would before but it means, in the first place, that Frank has to go on this “dog day” August day to Norfolk Downs, or the “Downs” as I heard someone call it once and I didn’t know what they were talking about. We always called it just plain, ordinary, vanilla-tinged, one-horse Norfolk Downs. And Frank had to walk. He, hot as he was and as hot as it was, was certainly not going to wait for an eternity, or more, for that never-coming Eastern Mass. bus from Fields Corner to meander up Hancock Street. Not that Frank was any stranger to that mode of transportation, to that walking. Frank, as I know for certain and have no need to plead amnesia on, had worn down many a pair of heel-broken, sole-thinned shoes (and maybe sneakers too)on the pavements and pathways of this old planet walking out of some forlorn place (or, for that matter, walking into such places). Just take my word for that, okay.

You can take my word for this too. Frank is now officially (my officially) out of the softball field and walking, walking slowly as befits the day, past the now also long gone little bus shelter hut as you get up onto Hancock Street. You know that old grey, shingled, always needed painting, smelly from some old wino's bottle or something, beat-up, beat-down thing that was suppose to protect you against the weathers while you waited for that never-coming Eastern Mass. bus. He, Frank that is, insists that his observation of that hut be put in here despite the fact that he had no intention of taking the bus as I already told you. He is not even going to step into its shade for a minute to cool off. But get this. We have to go through this hut business because, if you can believe this, that lean-to has "symbolic" meaning. Apparently every time this know-it-all pseudo-“beatnik”, long pants, heavy shirt and all, had a beef with his mother (and, you know, let’s not kid each other, when the deal went down, the beef was ALWAYS with Ma in those pre-“parenting-sharing” days) he sought shelter against life’s storms there, before caving into whatever non-negotiable demands Ma insisted on. Sound familiar? But enough, already.

Well, if you get, or rather, if back then if you got on to Hancock Street, (and you actually made it past that historic Eastern Mass. hut, oops, "symbolic" hut) down at the far end of the Welcome Young Field and were heading for Norfolk Downs you have to pass the old high school just a few blocks up on your journey. Just past the old Merit gas station, remember. That gas station (now Hess at that location) had been the scene of memories, Frank memories and mine too. But those are later gas-fumed, oil-drenched, tire-changed, under-the hood-fixated, car-crazy dreams; looking out at the (hopefully) starless be-bop ocean night; looking out for the highway of no return to the same old, same old mean streets of beat town; looking for some "high white note" heart of Saturday night or, better, the dreams accumulated from such a night; and, looking, and looking hard, desperately hard for the cloudless, sun-dried, sun-moaning under the weight of the day, low-slung blue pink Western-driven be-bop, bop-bop, sun-devouring sky and need not detain us here.


Don’t be scared by the thought of approaching the old school though, we all did it and most of us survived, I guess. Frank included. What makes this particular journey on this particular day past the old beige-bricked building “special” is that Frank (and I) had, just a couple of months before, graduated from Atlantic Junior High School (now Atlantic Middle School, as everyone who wants to show how smart and up-to-date they are keeps telling me) and so along with the sweat on his brow from the heat a little bit of anxiety is starting to form in Frank’s head about being a “little fish in a big pond” freshman come September as he passed by. Especially, a pseudo-beatnik “little fish”. See, he had cultivated a certain, well, let’s call it "style" over there at Atlantic. That “style” involved a total disdain for everything, everything except trying to impress girls with his long-panted, flannel-shirted, work boot-shod, thick book-carrying knowledge of every arcane fact known to humankind. Like that really is the way to impress teenage girls, then or now. In any case he was worried, worried sick at times, that in such a big school his “style” needed upgrading. Let’s not even get into that story now, or maybe, ever. Like I said we survived.

Frank nevertheless pulled himself together enough to push on until he came to the old medieval-inspired Sacred Heart Catholic Church further up Hancock Street, the church he went to, his church (and mine) in sunnier times. Frank need have no fear this day as he passed the church quickly, looking furtively to the other side of the street. Whatever demons were to be pushed away that day, or in his life, were looking the other way as well. The boy is on a mission after all, a trusted mission from his grandmother. Fearing some god, fearing some forgotten confession non-confessed venial sin like disobeying your parents, was child’s play compared to facing Gramma’s wrath when things weren’t done, and done right, on the very infrequent special occasions in his clan’s existence. I knew Frank's grandmother and I knew, and everyone else did too, that she was a “saint” but on these matters even god obeyed, or else. This special occasion, by the way, the reason Frank felt compelled to tell me this story, and to have me write it, or else, was the family Labor Day picnic to take place down at Treasure Island. (That’s what we called it in those days; today it is named after a fallen Marine, Cady Park, or something like that.) This occasion required a food order; make that a special food order, from Kennedy’s Deli.

And there it is as Frank makes the turn from Hancock Street to Billings Road. You knew Kennedy’s, right? The one right next to the big A&P grocery store back in those days. As Frank turned on Billings, went down a couple of storefronts and entered that store he had to, literally, walk in through the piled sawdust and occasional peanut shell husks on the gnarled hardwood floor. At once his senses were attacked by the smells of freshly ground coffee, a faint whiff of peanut butter being ground up, and of strong cheeses aging. He noticed a couple of other customers ahead of him and that he will have to wait, impatiently.

He also noticed that the single employee, a friendly clerk, was weighing a tub of butter for a matronly housewife, while a young mother, a couple of kids in tow, was trying, desperately, to keep them away from the cracker barrel or the massive dill pickle jar. The butter weighed and packaged the matronly women spoke out the rest of her order; half pound of cheese, thinly sliced, a pound of bologna, not too thin; a third of a pound of precious ham, very thinly sliced; and, the thing that made our boy pay attention, a pound of the famous house homemade potato salad, Kennedy's potato salad.

Frank winced, hoping that there will be enough of that manna left so that he could fill his order. That, above all else, is why he is a man on a mission on this day. Something about the almost paper thin-sliced, crunchy potatoes, the added vinegar or whatever elixir was put in the mix that made any picnic for him, whatever other treats might surface. Hey, I was crazy over it too. Who do you think got Frank "hip" to it, anyway? Not to worry though, there was plenty left and our boy carried his bundled order triumphantly out of the door, noticing the bigger crowds going in and out of the A&P with their plastic sheathed, pre-packaged deli meats, their tinny-tasting canned goods, their sullen potato salad, probably yesterday’s, and their expressionless fast exit faces. Obviously they had not been on any mission, not any special mission anyway, just another shopping trip. No, thank you, not today to all of that. Today Frank’s got real stuff.

“Wait a minute,” I can hear patient readers, impatiently moaning. This madman of a Frank story-teller has taken us, hither and yon, on some seemingly cryptic mission on behalf of an old friend, under threat or otherwise, through the sweat-drenched heat of summer, through the really best forgotten miseries of teenage-hood, and through the timeless dust and grime of vacant ball fields. He has regaled us with talk of ancient misty Fourth of July celebrations, the sexual longings of male teenagers, the anxieties of fitting in at a new school, and some off-hand remarks about religion. And for what, just to give us some twisted Proustian culinary odyssey about getting a pound of potato salad, famous or not, for grandmother. Well, yes. But hear me out. You don’t know the end. I swear Frank said this to me, shaking off the heat of the day on which he told me the story with a clean white handkerchief from the breast pocket of his light-weight suit jacket. After the purposeful journey the heat of that day didn’t seem so bad after all. That, my friends, made it all worth the telling, right?

*************

Theres A Moon Out Tonight -The Capris Lyrics

There's a (moon out tonight) whoa-oh-oh ooh
Let's go strollin'
There's a (girl in my heart) whoa-oh-oh ooh
Whose heart I've stolen
There's a moon out tonight (whoa-oh-oh ooh)
Let's go strollin' through the park (ooh-ooh-ooh-ooh)

There's a (glow in my heart) whoa-oh-oh ooh
I never felt before
There's a (girl at my side) whoa-oh-oh ooh
That I adore
There's a glow in my heart I never felt before (ooh-ooh-ooh-ooh)

Oh darlin'
Where have you been?
I've been longin' for you all my life

Whoa-uh-oh baby I never felt this way before
I guess it's because there's a moon out tonight

There's a (glow in my heart) whoa-oh-oh ooh
I never felt before
There's a (girl at my side) whoa-oh-oh ooh
That I adore
There's glow in my heart
I guess it's because

There's a moon out tonight
Moon out tonight
Moon out tonight
Moon out tonight
There's a moon out tonight