Joined in so they, mother and father sloggers and not only through the Great Depression and World War II but into the golden age too, could listen to Bill Marley on local radio station WJDA and his Memory Lane show from seven to eleven where they could listen to the music that got them (and their generation) through the “from hunger” times of the 1930s Great Depression (no mean task not necessarily easier than slogging through that war coming on its heels) and when they slogged through (either in some watery European theater or the Pacific atoll island one take your pick) or anxiously waited at home for the other shoe to drop during World War II. A not unusual occurrence, that shoe dropping, when the lightly trained, rushed to battle green troops faced battle-hardened German and Japanese soldiers until they got the knack of war on bloody mudded fronts and coral-etched islands but still too many Gold Star mothers enough to make even the war savages shed a tear.
Bart, thinking back on the situation felt long afterward that he would have been wrong if he said that Delores and Prescott should not have had their memory music after all of that Great Depression sacking and war rationing but frankly that stuff then (and now, now that he had figured some things out about them, about how hard they tried and just couldn’t do better given their circumstances but too later to have done anything about the matter, although less so) made him grind his teeth. But he, and his three brothers, were a captive audience then and so to this very day he could sing off Rum and Coca Cola, Don’t Sit Under The Apple Tree (the Glenn Miller version not the Andrew Sister’s) and Vera Lynn’s White Cliffs of Dover from memory. But that was not his music, okay. (Nor mine either since we grew up in the same working class neighborhood in old Carver, the cranberry bog capital of the world, together and many nights in front of Hank’s Variety store we would blow steam before we got our very own transistor radios and record players about the hard fact that we could not turn that radio dial, or shut off that record player, under penalty of exile from Main Street.)
Then of course since we are speaking about the 1950s came the great musical break-out, the age of classic rock and roll which Bart “dug” (his term since he more than the rest of us who hung around Jimmy Jack’s Clam Shack on Main Street [not the diner on Thornton Street, that would be later when the older guys moved on and we stepped up in their places in high school] was influenced by the remnant of the “beat” generation minute as it got refracted in Carver via his midnight sneak trips to Harvard Square, trips that broke that mother commandment number who knows what number), seriously dug to the point of dreaming his own jailbreak commandment dreams about rock star futures (and girls hanging off every hand, yeah, mostly the girls part as time went on once he figured out his voice had broken around thirteen and that his slightly off-key versions of the then current hits would not get him noticed on the mandatory American Bandstand, would not get him noticed even if he was on key) but that Elvis-etched time too was just a bit soon for him, us, to be able to unlike Bart’s older brother, Payne, call that stuff the music that he, I came of age to.
Although the echoes of that time still run through his, our, minds as we recently proved yet again when we met in Boston at a ‘60s retro jukebox bar and could lip-synch, quote chapter and verse, One Night With You (Elvis version, including the salacious One Night Of Sin original), Sweet Little Sixteen (Chuck Berry, of course, too bad he couldn’t keep his hands off those begging white girls when the deal went down and Mister wanted no interracial sex, none, and so send him to hell and back), Let’s Have A Party ( by the much underrated Wanda Jackson who they could not figure out how to produce, how to publicize -female Elvis with that sultry look and that snarl or sweet country girl with flowers in her hair and “why thank you Mister Whoever for having me on your show I am thrilled” June Carter look ), Be-Bop-a-Lula (Gene Vincent in the great one hit wonder night, well almost one hit, but what a hit when you want to think back to the songs that made you jump, made you a child of rock and roll), Bo Diddley (Bo, of course, who had long ago answered the question of who put the rock in rock and roll and who dispute his claim except maybe Ike Turner when he could flailed away on Rocket 88), Peggy Sue (too soon gone Buddy Holly) and a whole bunch more.
The music that Bart really called his own though, as did I, although later we were to part company since I could not abide, still can’t abide, that whiny music dealing mainly with mangled murders, death, thwarted love, and death, or did I say that already, accompanied by, Jesus, banjos, mandos and harps, was the stuff from the folk minute of the 1960s which dovetailed with his, our coming of chronological, political and social age, the latter in the sense of recognizing, if not always acting on, the fact that there were others, kindred, out there beside us filled with angst, alienation and good will to seek solidarity with which neither of us tied up with knots with seven seals connected with until later after getting out of our dinky hometown of Carver and off into the big cities and campus towns where just at that moment there were kindred by the thousands with the same maladies and same desire to turn the world upside down.
By the way if you didn’t imbibe in the folk minute or were too young what I mean is the mountain tunes of the first generation of the Carter Family coming out of Clinch Mountain, Buell Kazell, a guy you probably never heard of and haven’t missed much except some history twaddle that Bart is always on top of (from the Harry Smith Anthology of American Folk Music times), Jimmy Rodgers the Texas yodeler who found fame at the same time as the Carters in old Podunk Bristol, Tennessee, the old country Child ballads (Northwest Europe old country collected by Child in Cambridge in the 1850s and taken up in that town again one hundred years later in some kind of act, conscious or unconscious, of historical affinity), the blue grass music (which grabbed Bart by the throat when Everett Lally, a college friend of his and member of the famed Lally Brothers blue grass band let him in on his treasure trove of music from that genre which he tried to interest me in one night before I cut him short although Everett was a cool guy, very cool for a guy from the hills and hollows of Appalachia). Protest songs too, protest songs against the madnesses of the times, nuclear war, brushfire war in places like Vietnam, against Mister James Crow’s midnight hooded ways, against the barbaric death penalty, against a lot of what songwriter Malvina Reynolds called the “ticky-tack little cookie-cutter box” existences all of us were slated for if nothing else turned up by the likes of Bob Dylan, Joan Baez, Tom Paxton, Dave Von Ronk and Phil Ochs. Bart said that while he was in college (Boston College, the Jesuit school which was letting even heathen Protestants like Bart in as long as the they did not try to start the Reformation, again on their dime, or could play football) the latter songs (With God On Our Side, Blowin’ In The Wind, The Time They Are A-Changing, I Ain’t Marching No More, Universal Soldier and stuff like that) that drove a lot of his interest once he connected their work with the Harvard Square coffeehouse scene (and the adjacent hanging out at the Hayes-Bickford Cafeteria which he has written plenty about elsewhere and need not detain us here where he hung on poverty nights, meaning many nights.
Bart said a lot of the drive toward folk music was to get out from under the anti-rock and rock musical counter-revolution that he, we although I just kept replaying Elvis and the crowd until the new dispensation arrived, kept hearing on his transistor radio during that early 1960s period with pretty boy singers (Fabian, a bunch of guys named Bobby, the Everly Brothers) and vapid young female consumer-driven female singer stuff (oh, you want names, well Sandra Dee, Brenda Lee, Patsy Cline, Leslie Gore say no more). I passed that time, tough time it was in that cold winter night where the slightest bit of free spirit was liable to get you anywhere from hell form commandment mother to the headmaster to some ill-disposed anonymous rabid un-American committee which would take your livelihood away in a snap if you didn’t come across with names and addresses and be quick about it just ask the Hollywood Ten and lesser mortals if you think I am kidding which I agreed was a tough time in the rock genre that drove our desires, feeling crummy for not having a cool girlfriend to at least keep the chill night out playing my by the midnight phone classic rock and roll records almost to death and worn down grooves and began to hear a certain murmur from down South and out in Chicago with a blues beat that I swear sounded like it came out of the backbeat of rock. (And I was not wrong, found out one night to Bart’s surprise and mine that Smiley Jackson big loving tune that I swear Elvis ripped off and just snarled and swiveled up. Years later I was proven right in my intuition when it turned out that half of rock and roll depended on black guys selling scant records, “race records” to small audiences.)
Of course both of us, Bart and me, with that something undefinable which set us apart from others like Frankie Riley the leader of the corner boy night who seemed to get along by going along, being nothing but prime examples of those alienated teenagers whom the high-brow sociologists were fretting about, hell, gnawing at their knuckles since the big boys expected them to earn all that research money by spotting trends not letting the youth of the nation go to hell in a handbasket without a fight, worried that we were heading toward nihilism, toward some “chicken run” death wish or worse, much worse like Johnny Wild Boy and his gang marauding hapless towns at will leaving the denizens defenseless against the horde and not sure what to do about it, worried about our going to hell in a handbasket like they gave a fuck, like our hurts and depressions were what ailed the candid world although I would not have characterized that trend that way for it would take a few decades to see what was what. Then though the pretty boy and vapid girl music just gave me a headache, a migraine if anybody was asking, but mostly nobody was. Bart too although like I said we split ways as he sought to seek out roots music that he kept hearing in the coffeehouses and on the radio once he found a station out of Providence (accidently) which featured such folk music and got intrigued by the sounds.
Part of that search in the doldrums, my part but I dragged Bart along a little when I played to his folkie roots interests after he found out that some of the country blues music would get some play on that folk music station, a big search over the long haul, was to get deeply immersed in the blues, mainly at first country blues and later the city, you know, Chicago blues. Those country guys though intrigued me once they were “discovered” down south in little towns plying away in the fields or some such work and were brought up to Newport for the famous folk festival there, the one where we would hitchhike to the first time since we had no car when Steve when balked at going to anything involving, his term “ faggy guys and ice queen girls” (he was wrong, very wrong on the later point, the former too but guys in our circle were sensitive to accusations of “being light on your feet” and let it pass without comment) to enflame a new generation of aficionados. The likes of Son House the mad man preacher-sinner man, Skip James with that falsetto voice singing out about how he would rather be with the devil than to be that woman’s man, a song that got me into trouble with one girl when I mentioned it kiddingly one time to her girlfriend and I got nothing but the big freeze after that and as recently a few years when I used that as my reason when I was asked if would endorse Hilary Clinton for President, Bukka White (sweating blood and salt on that National Steel on Aberdeen Mississippi Woman and Panama Limited which you can see via YouTube), and, of course Creole Belle candy man Mississippi John Hurt.
But those guys basically stayed in the South went about their local business and vanished from big view until they were “discovered” by folk aficionados who headed south in the late 1950s and early 1960s looking for, well, looking for roots, looking for something to hang onto and it took a younger generation, guys who came from the Mister James Crow’s South and had learned at their feet or through old copies of their records like Howlin’ Wolf, Muddy Waters, and the guy whose photograph graces this sketch, the late B.B. King, to make the move north, to follow the northern star like in underground railroad days to the big industrial cities (with a stop at Memphis on Beale Street to polish up their acts, to get some street wise-ness in going up river, in going up the Big Muddy closer to its source as if that would give them some extra boost, some wisdom) to put some electric juice in those old guitars and chase my blues away just by playing like they too had, as the legendry Robert Johnson is said to have done one dark out on Highway 61 outside of Clarksville down in the Delta, made their own pacts with the devil. And made a lot of angst and alienation just a shade more bearable.
B.B. King was by no means my first choice among electrified bluesmen, Muddy Waters and in a big way Howlin’ Wolf, especially after I found out the Stones were covering his stuff (and Muddy’s) got closer to the nut for me, But B.B. on his good days and when he had Lucille (whichever version he had to hand I understand there were several generations for one reason or another) he got closer to that feeling that the blues could set me free when I was, well, blue, could keep me upright when some woman was two-timing me, or worst was driving me crazy with her “do this and do that” just for the sake of seeing who was in charge, could chase away some bad dreams when the deal went down.
Gave off an almost sanctified, not like some rural minster sinning on Saturday night with the women parishioners in Johnny Shine’s juke joint and then coming up for air Sunday morning to talk about getting right with the Lord but like some old time Jehovah river water cleaned, sense of time and place, after a hard juke joint or Chicago tavern Saturday night and when you following that devil minister showed up kind of scruffy for church early Sunday morning hoping against hope that the service would be short (and that Minnie Callahan would be there a few rows in front of you so you could watch her ass and get through the damn thing. B.B. might not have been my number one but he stretched a big part of that arc. Praise be.
