Motorcycle Days, Circa 1958-The Search For The Great Working-Class
Love Song - With Richard Thompson’s Vincent Black Lightning, 1952 In
Mind –Take Two
From The Pen Of Joshua Lawrence Breslin:
Several
years ago, maybe about eight years now that I think about it, I did a series of
sketches on guys, folk-singers, folk-rockers, rock-folkers or whatever you want
to call those who weened us away from the stale pablum rock in the early 1960s (Bobby
Vee, Rydell, Darin, et al, Sandra Dee, Brenda Lee, et al) after the gold rush
dried up in what is now called the classic age of rock and roll in the mid to
late 1950s when Elvis, Jerry Lee, Buddy, Chuck, Bo and their kindred made us
jump. (There were gals too like Wanda Jackson but mainly it was guys in those
days.) I am referring of course to the savior folk minute of the early 1960
when a lot of guys with acoustic guitars, some self-made lyrics, or stuff from
old Harry Smith Anthology times gave us a reprieve. The series titled Not
Bob Dylan centered on why those budding folkies like Tom Rush, Tom Paxton,
Phil Ochs, Jesse Winchester and the man under review Richard Thompson to name a
few did not make the leap to be the “king of folk” that had been ceded by the
media to Bob Dylan and whatever happened to them once the folk minute went
south after the combined assault of the British rock invasion (you know the
Beatles, Stones, Kinks, hell, even Herman’s Hermits got play for a while), and the rise of acid rock put folk in the
shade (you know the Jefferson Airplane, the Dead, The Doors, The Who, hell,
even the aforementioned Beatles and Stones got caught up in the fray although
not to their eternal musical playlist benefit). I also did a series on Not
Joan Baez, the “queen of the folk minute” asking that same question on the
female side but here dealing with one Richard Thompson the male side of the
question is what is of interest.
I did a
couple of sketches on Richard Thompson back then, or rather sketches based on
probably his most famous song, Vincent Black Lightning, 1952
which dove-tailed with some remembrances of my youth and my semi-outlaw front
to the world and the role that motorcycles played in that world. Additionally,
in light of the way that a number of people whom I knew back then, classmates
whom I reconnected on a class reunion website responded when I posed the
question of what they thought was the great working-class love song since North
Adamsville was definitely a working class town driven by that self-same ethos I
wrote some other sketches driving home my selection of Thompson’s song as my
choice.
The latter sketches
are what interest me here. See Thompson at various times packed it in, said he
had no more spirit or some such and gave up the road, the music and the
struggle to made that music, as least professionally. Took time to make a more
religious bent to his life and other such doings. Not unlike a number of other
performers from that period who tired of the road or got discourage with the
small crowds, or lost the folk spirit. Probably as many reasons as individuals
to give them. Then he, they had an epiphany or something, got the juices
flowing again and came back on the road. That fact is to the good for old time folk (and
rock) aficionados like me.
What that
fact of returning to the road by Thompson and a slew of others has meant is
that my friend and I, (okay, okay my sweetie who prefers that I call her my
soulmate but that is just between us so friend) now have many opportunities to
see acts like Thompson’s Trio, his current band configuration, to see if we
think they still “have it” (along with acts of those who never left the road like
Bob Dylan who apparently is on an endless tour whether we want him to do so or
not). That idea got started about a decade ago when we saw another come-back
kid, Geoff Muldaur of the Jim Kweskin Jug Band, solo, who had taken something
twenty years off. He had it. So we started looking for whoever was left of the
old folks acts (rock and blues too) to check out that question-unfortunately
the actuarial tables took their toll before we could see some of them at least
one last time like Dave Von Ronk.
That brings
us to Richard Thompson. Recently we got a chance to see him in a cabaret
setting with tables and good views from every position, at least on in the
orchestra section, at the Wilbur Theater in Boston with his trio, a big brush
drummer and an all-around side guitar player (and other instruments like the
mando). Thompson broke the performance up into two parts, a solo set of six or
seven numbers high-lighted by Vincent Black Lightning, and Dimming Of
The Day which was fine. The second part based on a new album and a bunch of
his well-known rock standards left us shaking our heads. Maybe the room could
not handle that much sound, although David Bromberg’s five piece band handled
it well a couple of weeks before, or maybe it was the melodically sameness of
the songs and the same delivery voice and style but we were frankly disappointed
and not disappointed to leave at the encore.
Most tunes didn’t resonant although a few in all honesty did we walked
out of the theater with our hands in our pockets. No thumbs up or down flat based
on that first old time set otherwise down. However, damn it, Bob Dylan does not
have to move over, now. Our only
consolation that great working-class love song, Vincent Black Lightning,
still intact.
Which brings
us to one of those sketches I did based on Brother Thompson’s glorious Vincent
Black Lightning. When I got home I began to revise that piece which I have included
below. Now on to the next act in the great quest- a reunion of the three
remaining active members of the Jim Kweskin Jug Band, Jim Maria Muldaur, and of
course Geoff at the Club Passim (which traces its genesis back to the folk
minute’s iconic Club 47 over on Mount Auburn Street in Harvard Square. We’ll
see if that gets the thumbs up.
From The Pen Of Joshua Lawrence
Breslin-Motorcycle Days, Circa 1958
Yes, 1958 was a good time to be a
motorcycle boy, A de facto, de jure wild boy who ate babies, gave old
people heart attacks and spread murder and mayhem in their trail to speak nothing
of what they were doing to property, private property on their treks through
small civilized towns who stood defenseless against the biggest marauders since
Genghis Klan hit Europe or wherever he waylaid whatever was in front of him just
for kicks according to the chattering, clueless, disapproving parents of the
time. Especially the parents of impressionable teenage girls who were starting
to get out of hand anyway with that devil’s music rock and roll making them make
all, well, all kind of sexy moves although they refused to use the “s” word, called
it jitterbugging or something like that might they meant the “s” word when had their
Mary Catherine or Beth on the carpet for whatever they had the girls on the
carpet for so sleek grungy motorcycle boys with high-powered wheels making
those girls a little itchy was beyond their comprehension.
And not just teenage girls either although
what they, those dumfounded parents did not see (or hear about from some prim prudish
roommate or schoolgirl friend) was just as well if they, the parents, had had a
clue what was going on over at State U with the twenty some-things, including
their Janie, when the music and liquor got going (and in some “hip” or badass
locales the dreaded dope, marijuana or worse previously only hearsay or seen
and read in Nelson Algren be-bop Man With
A Golden Arm junkie sagas filled with cold turkey nightmares and back alley
“shooting galleries, Jesus). Got going big time when the wild boys, who nobody
invited but nobody was stupid enough to ask to leave beside among the young men
there was certain sense of awe as well and those bikes sure beat the family car
on date night, but all “dressed-up” in greasy work-on-the bike-all-day-damn
that-cranky carburetor denim, tee-shirt, greasy or not, denim cut-off at the
shoulders jacket, doo rag handkerchief
for the head and whatever magic number-word symbol represented their chapter
existence patched somewhere on their person, showed up to get it on and a few
girls, adventurous girls in those pre-pill sex times, got a little wet thinking
about that possibility, took a flyer on that hot backseat just built to get their
sweet thing humming and don’t kid yourself on that, to the everlasting chagrin
of Joe College in his sports jacket and loafers who after six months on the
chase got nothing but some midnight kiss. If that.
Of course parents didn’t count, count
for much anyway, when trends, moods, and what was cool got discussed in front
of night times mom and pop variety stores where corner boys of all descriptions
and attitudes held forth. Or at Doc’s Drugstore in our town, North Adamsville, after
school, high school, of course, lesser grades needed not to bother to show up within
fifty yards of the place except maybe in
early morning to get some candy bar or other sweet to get them through until
growing-up time lunch, where all manner of school boy and girl went for a soda
and snack but mainly to hear some latest tune, maybe some hot Jerry Lee wild
boy mad man thing, seventeen times in Doc’s amped up super juke box. In those
quarters motorcycle wild boys were cool, if maybe just a little dangerous.
And maybe just slightly illegal too as
their parents’ cops (as part of that
parent-police-teacher-priest-politician-hell-maybe even mom and pop variety
store owner authority continuum) frowned, no more than frowned, got irate and
even threatened to do something about it when some local detachment of the
Devils’ Disciples roared through the Adamsville Beach boulevard night. The
sight of flashing blue lights on the boulevard usually meant one thing. Some
wild boy had his just juiced up after working on the damn thing all day exhaust
system too loud, or he wasn’t wearing a helmet (not mandatory then but “suggested”
that doo rag got its start as the “helmet” still does act so in places like Maine
and New Hampshire), or he switched lanes without signaling (signaling “Jesus, give
me a break, officer” I was trying roust those old biddies doing twenty in a
fifty mile an hour zone in said wild boy’s head), or maybe for just being ugly,
cop’s eyes ugly (he too worrying about that teenage daughter who was getting a
little precocious and sassy about things as she grew into young womanhood), or
some lame thing like that.
Those small civic sins only added to
the mystique though. Especially on sultry summer nights when the colors (the
Disciples had blue parallelogram patches with the number thirteen on them
meaning you had to have carnally known at least thirteen women although contrary
to rumor not all virgins or underage) passed turning every guy’s eyes, even
mine, to listen to that power amped up on the asphalt and to set every girl,
including guys I hung with sisters and mine too, impressionable or not, to
thinking, thinking Wild Boy Marlon Brando thinking about what was behind that
power.
See before Tom Wolfe (in the description
of their partying down at Ken Kesey’s place in La Honda in his classic 1960s coming
of socials age book The Electric Kool-Aid
Acid Test) and the late lamented Hunter Thompson ( a motorcycle aficionado himself
who cruised plenty of midnight Pacific Coast Highway turns and who hung with
the Oakland Hell’s Angels in the mid-1960s for a year or so and both lived to
tell about it and wrote the classic pop sociological account of the group in
his The Hell’s Angels) put everybody straight about the seamy side of
motorcycle life, life-style motorcycle life with its felonies and mayhem,
Marlon and his wild boys (and maybe throw in James Dean and his “chicken run”
cars although they were a little too tame to be as revered as the motorcycle
boys were) had cleaned up the wild boy scene, made it okay to be an easy rider,
made it sexy. Not the weekend warrior flip turns and wheelies and then Monday
morning back to the bank stuff but real alienated Johnnies just like you and
me. Old Marlon had made alienated wild boys cool. For a while in the early 1960s
dead air small town night, no car, no girls, no dough and definitely no cool bike
that would light up many a conversation.
Yeah marlon, old sexy white tee-shirt,
maybe a pack of Luckies rolled up one sleeve, a cap rakishly turn at an angle
on his head, but mainly an attitude, an attitude of distain, hell, maybe
hatred, toward that ever present authority that told every kid, every boy and
girl that you had better take what you can when you can because it won’t be
there long. And along with that attitude, call it fellahin philosophy if you
like, that slight snarl that accompanied every word. Yah, cool, cool daddy
cool.
And the girls, wells, they were doing
that wondering, wondering about what was behind that power thrust, as those
leather jackets and engineer boots roared by. To the detriment of their dates
while sitting in the front seat of their, the date’s father’s borrowed plain
vanilla boxed tail fin car that he had had to almost declare a civil war to get
for the evening and promise to mow some future lawn as compensation. Jesus. Or
worse, infinitely worse, seeing that metal, chrome and fire pass by after her
date, her car-less date, had just walked her over to the beach to sit on that
cold stony seawall. Her eyes flamed red, as she almost flagged down some local
easy rider as he passed by just to get some kicks, and maybe freedom from
squaresville town (and that square guy, who one time was me, as I will relate
below, car-less sit by the seawall me).
It wasn’t always low-down grunges with
no style, Neanderthals with bad breathe and stinking body odor, who occupied
the flamed night either. Every town probably had it story, many more that one,
of some wild boy motorcycle boy who ruled the roost, who took what he needed,
or better, wanted and said the hell with civilization. Yeah, a real outlaw, an
outlaw way outside the system like North Adamsville wild boy James Preston, a
guy they still talk about, although not when tender ears are around (you know
those impressionable teenage girls, star-dust boys thinking about that bike and
those impressionable girls). Back in 1957, maybe 1958 that was all the talk,
all the talk that counted among anguished and alienated teen like I said when
Pretty James Preston got his chopper. Damn, I can still hear that explosion
when he gunned that pedal even now.
See, Pretty James Preston (and nobody
called him, as far as I know, anything else except that exact designation, not “Pretty”
which would probably have gotten you chain-whipped, not Pretty James which probably
would have put you in the hospital) had Elvis-like looks to go with his outlaw
snarl. Dark hair combed back like Elvis (but never ever use that comparison
then, not if you don’t want to fight, fight whip chains fight or cut-up knives
just so you know), black kind of Spanish eyes, long and tall, wiry some would
say, but tough as a kid from the wrong side of the tracks could be. Nobody
messed with Pretty James Preston (see, hell, even fifty years or more later I
still call him that just in case, just in case his chain-wielding ghost is
still around). So tough that he, around ordinary citizens, was almost
civilized. He could afford to be and because it cost him nothing in his world
calculus that was that.
So naturally every high school girl, and
you would have been surprised how many and who, even women since at that time
Pretty James Preston was about twenty-one, had some tough nights up in their lonely
rooms thinking about that wild boy. Now maybe not everyone, okay, North
Adamsville was not that small a town but let’s say any girl (or young woman)
who thought she had a shot, or maybe half a shot, at his favors was having
sweaty summer nights. Even Mimi Murphy, my girlfriend, my faithless girlfriend.
Now Mimi was maybe not the dish of the town, with her flaming red hair and her
slender, maybe skinny is a better way to describe it, body but she had a
certain something, a certain, smile, a certain style about her that made some
guys who you would never ever think would give her a second look (like I had to
my delight) were intrigued by her. Including one Pretty James Preston.
So one summer night after I walked
Mimi, yes, car-less walked, Mimi over to the seawall down at the Seal Rock end
of old Adamsville Beach I (we) heard that roar, that roar that meant only one
thing- Pretty James Preston was coming down the boulevard full throttle. I
turned around and before I knew it there he was stopped in front of us as we
sat on the seawall. I swear I don’t remember him saying word one to Mimi (or
me). Maybe a nod, maybe they had some secret karmic thing, I don’t know. All I
know is that the queen of Sacred Heart Church (Roman Catholic) for the number
of novenas said in the old days, some white veil Madonna aura always present,
one of the smartest girl in our class and, also probably the closest thing we
had to a quirky girl in our class walked over to Pretty James Preston and his
strange and powerful Vincent Black Lighting and straddled her long legs on the back
saddle of the bike. And into the night they roared.
But see that strange bike, that
British-made exotic Vincent Black Lightning (which later proved to have been
stolen, not by Pretty James but by someone else, and then ferreted over from
England to take its place in North Adamsville lore) was the undoing of Pretty
James Preston (although not to hold you in suspense not of Mimi Murphy, not
officially). Pretty James was leading kind of a double life. Let me explain, or
try to, the way I heard it from some sources that I trusted (not Mimi, for I
never really saw her to speak to after that fateful roar off into the Pretty
James night).
In order to keep up his bike, his
chopper Pretty James Preston robbed, robbed persons, places and things if you
like. Not around North Adamsville since he was too well known (although after
it was all over a few people around town admitted that he had robbed them,
robbed them at gun-point and they were too scared to say anything. Maybe true,
maybe not.). But around, a gas station here, a mom and pop variety store there,
a couple of department stores, a few wealthy homes over in Millsville, maybe
jack-roll a drunk if things got desperate. Not much dough but steady.
Then one day we heard that Pretty James
Preston had stepped up his act. Banks, or rather a bank, the Granite City
National Bank branch over in Braintree. And that was his downfall. Somehow he
bungled the job, or some alarm went off, or some rum brave cop got religion and
before he could get out the door Pretty James was shot, shot six ways to
Sunday. Dead, DOA, done. The only thing left to say is that somebody thought
they saw a skinny, long-legged, long- haired, red-headed girl in a leather jacket
and dungarees standing across the street from the bank and when they turned
around after looking away upon hearing the shots the girl were gone. They later
found the Vincent Black Lightning over in the Adamsville projects kind of
mashed up.
The red-headed girl, my Mimi, was not
seen around town again. (Rumors, small rumors swirled for a few months about
her fate, some reported that she was in a convent up North, others that she was
holed up doing tricks in some high –end whorehouse in Boston but I never got
very far with the few leads I had and soon gave it up.) Yes, Pretty James
Preston was an outlaw from his first to last breath. And you wonder why they
still talk about him with hushed breath.
The music too befit the motorcycle wild
boy time of end of time times, the times when it seemed every little mishap in
some godforsaken corner of this wicked old world turned into a major crisis
causing everybody at some invisible authority’s urging to head for the air-raid
shelters and keep their heads down. And their butts up. Jerry Lee wild man
piano stuff, always ready to break out, jail break out ever since he popped the
question in high school confidential, Chuck leering at sweet little sixteens
and you know what I mean, Eddie Cochran giving us a summer time blues anthem to
hang our hopes on, and all kinds of one hit wonders trying to put a dent in our
angst, our special teen angst that was ready to boil over, to break out and be
free. Free from that invisible hand authority.
No wonder the wild boys had a field
day. Those impressionable girls, maybe Mimi too although we never talked about
such things, Jesus no, worried they would never get to “do it” but were fearful
to “do it” nevertheless in that Pill-less world. And guys hoping that the girls
were worrying about not “doing it” before the world exploded egged them on
although not with as much concern as necessary about consequences. The wild
boys, those easy riders, though said “take no prisoners” and that was
attractive, that and that promise of power that had many a girl restless late
at night.
So no wonder too some young thing in
the Jody Reynolds’ song “Endless Sleep”, maybe worried about getting pregnant
after she let lover boy go further than she (and he) expected decided to go
down to that sunless beach and let old Neptune have his way with her. And he,
lover boy, maybe with a wild boy sensibility on the surface but more the
weekend warrior when the deal went down, went looking for the dizzy dame, his
dizzy dame and left old Neptune in the lurch. And many years later, maybe in
some dream remembrance, they would throw the old records on the turntable, amp
up the teen angst, the teen alienation, then sit back and listen to maybe the
last minute in the 1950s when free-wheeling rock and roll blasted the night
away. And the motorcycle boys held forth in the thundering night.
ARTIST: Richard
Thompson
TITLE: 1952 Vincent Black Lightning
Lyrics and Chords
TITLE: 1952 Vincent Black Lightning
Lyrics and Chords
Said Red Molly to James that's a fine
motorbike
A girl could feel special on any such
like
Said James to Red Molly, well my hat's
off to you
It's a Vincent Black Lightning, 1952
And I've seen you at the corners and
cafes it seems
Red hair and black leather, my favorite
color scheme
And he pulled her on behind
And down to Box Hill they did ride
/ A - - - D - / - - - - A - / : / E - D
A /
/ E - D A - / Bm - D - / - - - - A - -
- /
Said James to Red Molly, here's a ring
for your right hand
But I'll tell you in earnest I'm a
dangerous man
I've fought with the law since I was
seventeen
I robbed many a man to get my Vincent
machine
Now I'm 21 years, I might make 22
And I don't mind dying, but for the
love of you
And if fate should break my stride
Then I'll give you my Vincent to ride
Come down, come down, Red Molly, called
Sergeant McRae
For they've taken young James Adie for
armed robbery
Shotgun blast hit his chest, left
nothing inside
Oh, come down, Red Molly to his dying
bedside
When she came to the hospital, there
wasn't much left
He was running out of road, he was
running out of breath
But he smiled to see her cry
And said I'll give you my Vincent to
ride
Says James, in my opinion, there's
nothing in this world
Beats a 52 Vincent and a red headed
girl
Now Nortons and Indians and Greeveses
won't do
They don't have a soul like a Vincent
52
He reached for her hand and he slipped
her the keys
He said I've got no further use for
these
I see angels on Ariels in leather and
chrome
Swooping down from heaven to carry me
home
And he gave her one last kiss and died