The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-Beach Blanket Bongo- With The Falcons' You're So Fine –Take Two In Mind

The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-Beach Blanket Bongo- With The Falcons' You're So Fine –Take Two In Mind  

The Falcons

You're So Fine
You're So Fine
The Falcons

You're so fine, you're so fine
You're mine, you're mine
I walk, and I talk, about you

I love you, I love you
I need you, I need you
I walk, and I talk, about you

There's nothing in the world as sweet as your kiss
so fine, so fine
Every time we meet, my heart skips a beat
You're my first cup of coffee
( my last cup of tea) Bass line
You're so fine, you're so fine
You're mine, you're mine
I walk, and I talk, about you

Sax solo
You're so fine, you're so fine
You're mine, you're mine
I walk, and I talk, about you

*******

Sometimes it is funny how people will get into certain jags, will become aficionados, no, more than that will become single-minded fanatics if you don’t watch them very carefully and keep an appropriate distance say the distance you would keep from a cobra.  Some of us will go all out to be the best at golf or some such sport (or game, I guess you would call golf a game rather than sport because sport sounds too rough, sounds too in-your-face for such a gentile pastime, for the active mashing of some innocent white ball, yeah, let’s call it a game and move on) or will devout endless hours to the now thirty-seven, at least, flavors of yoga now passing through a rage period (no, I will not name all the variants, all the exotically-named mostly Hindu-sounding names,    except to say that such devotion at least makes health sense strangling some poor misbegotten caddie for not providing the right club for that perfect golf shot you had lines up) and others will climb straight-faced (theirs and the mountain’s) sheer rock precipices (no further comment needed except perhaps a sane citizen might just suggest that gentile pastime of golf to those sheer rocks). So be it.

Take me for example although I am not up for rigors of golf (or the premediated first-degree murder of some errant golf ball either), yoga (although thinking back the Kama Sutra came out of that same tradition so it might be worthy of some thought) or mountain-baiting (I like my rocks strictly in museums where they belong) recently I have been on a tear in reviewing individual[CL1]  CDs in an extensive generic commercial classic Rock ‘n’ Roll series (meaning now the 1950s and 1960s) entitled Rock and Roll Will Never Die. The impetus for reviewing that particular CD series at first had been in order to hear the song Your So Fine by the Falcons after I had been listening to The Dubs’ Could This Be Magic on YouTube. That combination was driven by a memory flashback to about 1959 when I used to pester (I am being kind here) every available girls in my seventh grade class by being timid boy flirty and calling her, well, “so fine.” Available girls by the way meaning not going “steady” with a boy, especially a guy who might be on the football team and who might take umbrage with another guy trying to cut his time. Although let’s say that if she was going with a golf guy I might cut his time since they live by some strange honor system, you know count exactly the number of strokes you took to complete the hole, including those three, not two, you clunked into the pond.  Available girl also meaning in seventh grade, unlike in sixth or fifth grade where the distinctions did not matter because they were all nuisances, girls who had gotten a shape and broken out of “stick-dom.” Those are the ones who were worthy of Jeff Sterling, that’s me, “so fine” designation. Such is the memory bank these days.  

While that particular review was driven by a song most of those reviews that I was crazy to listen to and speak about had been driven by the intriguing artwork which graced the covers of each CD, pinpoint artwork drawn in such a way to stir ancient memories of ancient loves, ancient loves, too many to count, anguishes, ditto, alienations, you give a number, angsts, infinite, and whatever else teen–age life could rain down on you just when you were starting to get a handle on the world, starting to do battle to find your place in the sun. Starting to feel too that this wicked old world might be a place worthy of the fight to preserve it but such thoughts were only flushed out later, much later after the dust of angst and alienation settled.  

Moreover these artwork covers reflected that precise moment in time, time being a very conscious and fungible concept then when we thought we would live forever and if we did not at least let us do our jailbreak rock and roll rock with the time we had, the youth time of the now very, very mature (nice sliding over the age issue, right?) baby-boomer generation who lived and died by the music. And who fit in, or did not fit in as the case may have been, to the themes of those artwork scenes. That fit in or didn’t fit in as the example of that flirty “your so fine” mantra that I would pin on any girl (remember any available girl not going steady and not with some big brute just in case that big brute is still holding a grudge).

Some artwork in the series like those that portrayed the terrors of Saturday night high school dance wallflower-dom, hanging around the you-name-it drugstore soda fountain waiting for some dreamy girl to drop her quarters in the juke-box and ask you, you of all people, what she should play to chase her blues away after some  guy left her for another girl and she needed a sound to shed a tear by and you there with that empty shoulder to ease the way, or how about a scene down at the seclude end of Adamsville Beach with a guy and his gal sitting watching the surf and listening to the be-bop radio before, well, let’s leave it at “before,” and picture this a few beauties sunning themselves at the beach waiting for Johnny Angel to make an appearance need almost no comment except good luck and we, we of that 1950s demographic, all recognize those signposts of growing up in the red scare cold war night. This cover that I am thinking of though  did not “speak” to me, a 1959 artwork cover from the time when the music died (meaning Elvis turned “square,” Chuck got caught with Mister’s girls and Jerry Lee failed to check the family tree).

On this cover, a summer scene (always a nice touch since that was the time when we had least at the feel of our generational breakout, listening all afternoon to the transistor radio, trying to keep the sand from destroying your sandwich, getting all or red and pretty for Saturday night in white), two blondish surfer guys, surf boards in tow, were checking out the scene, the land scene for that minute they were not trying to ride the perfect wave, or thinking about that possibility. That checking out of course was to check out who was “hot” on the beach, who could qualify to be a “surfer girl” for those lonely nighttime hours when either the waves were flat or the guys had been in the water so long they had turned to prunes. That scene although not pictured (except a little background fluff to inform you that you are at the beach, the summer youth beach and no other, certainly not the tortuous family beach scene with its lotions, luggage, lawn chairs, and longings, longings to be elsewhere in early teen brains), can only mean checking out the babes, girls, chicks, or whatever you called them in that primitive time before we called them sisters, and women.

No question that this whole scene had been nothing but a California come hinter scene. No way that it has the look of my Eastern pale-face beaches, family or youth. This is nothing but early days California dreamin’ cool hot days and cooler hot nights with those dreamed bikini girls. But hold on, see as little as I know about West Coast 1950s growing up surfer culture I was suddenly struck by this hard fact. These pretty boys are, no question, “beach bums” no way that they are serious surfer guys, certainly not Tom Wolfe’s Pump House La Jolla gang where those surfers lived for the perfect wave, and nothing else better get in the way. For such activity one needed rubberized surf suits complete with all necessary gear. In short these guys are “faux” surfers. Whether that was enough to draw the attention of those shes they are checking out into the humid night I will leave to the reader’s imagination.

As I noted before and commented on in the review the music, the 1959 music, that backed up this scene told us we were clearly in a trough, the golden age of rock with the likes of Jerry Lee Lewis, Elvis, and Chuck Berry was fading, fading fast into what I can only describe as “bubble gum” music. Sure I listened to it, listened to it hard on my old transistor radio up in my lonely shared room or out on those surly, tepid Eastern beaches mainly because that was all that was being presented to us. Somehow the parents, the cops, the school administrators and, if you can believe this, some of those very same bikini girls who you thought were cool had flipped out and wanted to hear Fabian, Bobby Vee and Bobby Darin, got to the record guys, got to Tin Pan Alley and ordered them to make the music like some vanilla shake. So all of a sudden those “you’re so fine” beach blanket blondes were sold on faux surfer guys, flip-floppers and well-combed guys and had dumped the beat, the off-beat and the plainly loopy without a thought. Leaving hard-boiled Harvard Square by night denizens like me homeless, and girl-less more than less.

It was to be a while, a few years, until the folk, folk rock, British invasion, and free expression rock engulfed us. My times, times when I did not have to rely on some kids’ stuff flirty “your so fine” line but could impress the young women of my acquaintance (admittedly not the beach blanket bingo blondes of my youth but long straight brunette-haired women with faraway eyes and hungry haunted expressions) with eight million Child ballad, Village, traditional music, mountain music facts I had accumulated during that red scare cold war trough before the break-out. 

As the bulk of that CD’s contents attested to though we were in 1959 in the great marking time. There were, however, some stick-outs there that have withstood the test of time. They include: La Bamba, Ritchie Valens; Dance With Me, The Drifters; You’re So Fine (great harmony),The Falcons; Tallahassee Lassie (a favorite then at the local school dances by a local boy who made good), Freddy Cannon; Mr. Blue (another great harmony song and the one, or one of the ones, anyway that you hoped, hoped to distraction that they would play for the last dance), The Fleetwoods; and, Lonely Teardrops, Jackie Wilson (a much underrated singer, then and now, including by this writer after not hearing that voice for a while).

Note: After a recent trip to the Southern California coast I can inform you that those two surfer guys, who actually did turn out to be landlubbers and were working the shoreline while serious surfers with no time for beach blanket bingo blondes sought that perfect wave stuff, are still out there and still checking out the scene. Although that scene for them now is solely the eternal search for the perfect wave complete with full rubberized suit and gear. No artist would now, or at least I hope no artist would, care to rush up and draw them. For now these brothers have lost a step, or seven, lost a fair amount of that beautiful bongo hair, and have added, added believe me, very definite paunches to bulge out those surfer suits all out of shape. Ah, such are the travails of the baby-boomer generation. Good luck though, brothers.

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