Johnny Prescott’s Itch- With Kudos To
Mister Gene Vincent's Be-Bop-A-Lula
GENE VINCENT
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Well, be-bop-a-lula, she's my baby
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby love
My baby love, my baby love
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby love
My baby love, my baby love
Well, she's the girl in the red blue
jeans
She's the queen of all the teens
She's the one that I know
She's the one that loves me so
She's the queen of all the teens
She's the one that I know
She's the one that loves me so
Say be-bop-a-lula, she's my baby
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby love
My baby love, my baby love
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby love
My baby love, my baby love
Well, she's the one that gots that beat
She's the one with the flyin' feet
She's the one that walks around the store
She's the one that gets more more more
She's the one with the flyin' feet
She's the one that walks around the store
She's the one that gets more more more
Be-bop-a-lula, she's my baby
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby love
My baby love, my baby love
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby
Be-bop-a-lula, I don't mean maybe
Be-bop-a-lula, she's my baby love
My baby love, my baby love
He had the itch. John Prescott had the
itch and he had it bad, especially since his eyes flamed up consumed with
hell-bend flames when he saw Elvis performing live on the Ed Sullivan Show
one Sunday night. And he had it so bad that he had missed, unbeknownst to his
parents who would have been crestfallen and, perhaps, enraged, his last few
piano lessons. Sure, he covered his butt by having saxophonist Sid Stein,
drummer Eddie Shore, and bass player Kenny Jackson from his improvisational
school jazz combo, The G-Clefs (yah, yah, I know a well-thought out name for a musical group)
come by his house to pick him up. While standing at the Prescott door parents the
sidemen went through the “well aren’t things looking up for you boys,” and
“they seem to be” scene without missing a beat. But as soon as Kenny’s 1954
Nash Rambler turned the corner of Walnut Street Johnny was a long-gone daddy,
real long-gone. And where he was long-gone but not forlorn to was to Sally
Ann’s Music Shop over on the far end of West Main Street. Now the beauty of
Sally Ann’s was that it was, well, Sally Ann’s, a small shop that was well off
the main drag, and therefore not a likely place where any snooping eyes, ears
or voices that would report to said staid Prescott parents when Johnny went in
or out of the place. Everyone, moreover, knew Sally Ann’s was nothing but a
run-down past its prime place and if you really wanted all the best 45s, and
musical instrument stuff then every self-respecting teenager in town hit the
tracks for Benny’s Music Emporium right downtown and only about a quick
five-minute walk from North Clintondale High where Johnny and the combo served
their high school time, impatiently served their high school time.
Now while everybody respected old Sally
Ann’s musical instincts she was passé. She had been the queen of the jitterbug
night, appearing weekly in the USO shows and dances in waterfront Boston in the 1940s while the
war was on, had been on top of the be-bop jazz scene, had been at Birdland the
night Charley had hit the high white note, with Charley, Dizzy, Thelonius and
the guys early on right after the war, guys whom the G-Clefs covered, covered
like crazy. More importantly she had nixed, nixed big time that whole Patti
Page, Teresa Brewer weepy, sad song thing in the early 1950s when some energy
ran out on the music scene. Still around town, among the young who counted,
counted big time with their newly minted parent-derived discretionary income
she was passé, old hat when it came to the cool blues coming out of Chicago,
and the be-bop doo wop that kids, white kids, because there were no known
blacks, or spanish, chinese, armenians, or whatever, in dear old Clintondale
were crazy for ever since Frankie Lyman and his back-up guys tore up the scene
with Why Do Fools Fall In Love?
But her greatest sin, although up until
a few weeks ago Johnny would have been agnostic on that sin part, was that she
was behind, way behind the curve, on the rock ‘n’ rock good night wave coming
though and splashing over everybody, including deep jazz man, Johnny Prescott.
But Sally Ann had, aside from that secluded locale and a
tell-no-tales-attitude, something Johnny could use. She had a primo Les Paul
Fender-bender guitar in stock just like the one Gene Vincent used that she was
willing to let clandestine Johnny play when he came by. And she had something
else Johnny could use, or maybe better Sally Ann could use. She had an A-Number
One ear for guys who knew how to make music, any kind of music and had the bead
on Johnny, no question. See Sally Ann was looking for one more glory flame, one
more Clintondale shine moment, and who knows maybe she believed she could work
some Colonel Parker magic and so Johnny Prescott was king of the Sally Ann day.
King, that is, until James and Martha
Prescott spotted the other G-Clefs (Kenny, Sid, Eddie) coming out of the Dean
Music School minus Johnny, minus a “don’t know where he is, sir,” Johnny. And
Mr. Dean, Johnny’s piano instructor, was clueless as well, believing Johnny’s
telephone story about having to work for the past few weeks and so lessons were
to be held in abeyance. Something was definitely wrong if Mr. Dean, the man who
more than anyone else recognized Johnny’s raw musical talent in about the third
grade had lost Johnny's confidence. But the Prescotts got wise in a hurry
because flutist Mary Jane Galvin, also coming out the school just then, and
overhearing the commotion about Johnny’s whereabouts decided to get even with
one John Prescott by, let’s call a thing by its right name, “snitching” on him
and disclosed that she had seen him earlier in the day when she walked into
Sally Ann’s looking for an old Benny Goodman record that featured Peggy Lee and
which Benny’s Emporium, crazed rock ‘n’ rock hub Benny’s would not dream of
carrying, or even have space for.
The details of the actual physical
confrontation with Johnny by his parents (with Mr. Dean in tow) are not very
relevant to our little story. What is necessary to detail is the shock and
chagrin that James and Martha exhibited on hearing of Johnny’s itch, his itch
to be the be-bop, long-gone daddy of the rock ‘n’ roll night. Christ, Mr. Dean
almost had a heart attack on the spot when he heard that Johnny had, and we
will quote here, “lowered himself to play such nonsense,” and gone over to the
enemy of music. As mentioned earlier Mr. Dean, before he opened his music
school, had been the roving music teacher for the Clintondale elementary
schools and had spotted Johnny’s natural feel for music early on. He also knew,
knew somewhere is his sacred musical bones, that Johnny’s talents, his
care-free piano talents in particular, could not be harnessed to classical
programs, the Bachs, Beethoven, and Brahms stuff, so that he encouraged Johnny
to work his magic through be-bop jazz then in high fashion, and with a long
pedigree in American musical life. When he approached the Prescotts about
coordinating efforts to drive Johnny’s talents by lessons his big pitch had
been that his jazz ear would assure him of steady work when he came of age,
came of age in the mid-1950s.
This last point should not be
underestimated in winning the Prescotts over. James worked, when there was
work, as a welder, over at the shipyards in Adamsville, and Martha previously
solely a housewife, in order to pay for those lessons (and be a good and caring
mother to boot) had taken on a job filling jelly donuts (and other donut stuff)
at one of the first of the Dandy Donuts shops that were spreading over the
greater Clintondale area.
Christ, filling donuts. No wonder they
were chagrined, or worst.
Previously both parents were proud,
proud as peacocks, when Johnny really did show that promise that Mr. Dean saw
early on. Especially when Johnny would inevitably be called to lead any musical
assemblage at school, and later when, at Mr. Dean’s urging, he formed the G-Clef
and began to make small amounts of money at parties and other functions. Rock
‘n’ rock did not fit in, fit in at all in that Prescott world. Then damn Elvis
came into view and corrupted Johnny’s morals, or something like that. Shouldn’t
the authorities do something about it?
Johnny and his parents worked out a
truce, well kind of a truce, kind of a truce for a while. And that kind of a
truce for a while is where old Sally Ann entered in again. See, Johnny had so
much raw rock talent that she persuaded him to have his boys (yes, Kenny, Sid
and Eddy in case you forgot) come by and accompany him on some rock stuff. And
because Johnny was loved by Aunt Sally (not Sally Ann, just old Aunt Sally by
then) was loved, loved in the musical sense if not in the human affection sense
by the other boys they followed along. Truth to tell they were getting the itch
too, a little.
And that little itch turned into a very
big itch indeed when at that very same dime-dropper, Mary Jane Galvin’s sweet
sixteen party concert (yes, Mary Jane was that kind of girl to have such a party
that was going out of fashion among the hip younger girls who had dreams of
seashore conquests and no time for dopey parties), the G-Clefs finished one of
their covers, Dizzy’s Salt Peanuts with some rock riffs. The kids
started to get up, started dancing in front of their seats to the shock of the
parents and Mary Jane (yes, Mary Jane was that kind of girl), including the senior
Prescotts, were crazy for the music. And Johnny’s fellow G-Clefs noticed,
noticed very quickly that all kinds of foxy frails (girls, okay), girls who had
previously spent much time ignoring their existences, came up all dreamy-eyed
and asked them, well, asked them stuff, boy-girl stuff.
Oh, the Sally Ann part, the real Sally
Ann part not just the idea of putting the rock band together. Well, she talked
her talk to the headmaster over at North Clintondale High (an old classmate,
Clintondale Class of 1925, and flame from what the boys later heard) and got
the boys a paying gig at the upcoming school Spring Frolics. And the money was
more than the G-Clefs, the avant guarde
G-Clefs made in a month of jazz club appearances, to speak nothing of girls
attached. So now the senior Prescotts are happy, well as happy as parents can
be over rock ‘n’ roll. And from what I hear Johnny and the Rocking Ramrods are
going, courtesy of Aunt Sally, naturally, to be playing at the Gloversville
Fair this coming summer. Be-bop-a-lula indeed.