Monday, July 09, 2018

The 50th Anniversary Of The Summer Of Love, 1967- An Encore -Out In The Be-Bop 1960s Night- When The Music’s Over-On The Anniversary Of Janis Joplin’s Death

The 50th Anniversary Of The Summer Of Love, 1967- An Encore -Out In The Be-Bop 1960s Night- When The Music’s Over-On The Anniversary Of Janis Joplin’s Death






From The Pen Of Sam Lowell

Scene: Brought to mind by the cover art on some deep fogged memory producing, maybe acid-etched flashback memory at the time, accompanying CD booklet tossed aside on the coffee table by a guy from the old days, the old New York University days, Jeff Mackey, who had been visiting Sarah, Josh Breslin’s wife of the moment. Jeff had just placed the CD on the CD player, the intricacies of fine-tuned down-loading from YouTube beyond anybody’s stoned capacity just then and so the “primitive” technology (stoned as in “turned on,” doped up, high if you like just like in the old days as well although Josh had gone to State U not NYU but the times were such that such transactions were universal and the terms “pass the bong” and “don’t bogart that join” had passed without comment). Don’t take that “wife of the moment” too seriously either since that was a standing joke between Sarah and Josh (not Joshua, Joshua was dad, the late Joshua Breslin, Jr.) since in a long life they had managed five previous  marriages (three by him, two by her) and scads of children and two scads of grandchildren (who had better not see this piece since grandma and grandpa have collectively expended many jaws-full hours of talk  about the danger of demon drugs, the devil’s work even if only with a half-hearted sincerity since they fully expected that those younger kids like their own kids would experiment, would "puff the magic dragon" and then move on).

When Josh had picked up that tossed aside booklet he noticed a  wispy, blue-jeaned, blouse hanging off one shoulder, bare-foot, swirling mass of red hair, down home Janis Joplin-like female performer belting out some serious blues rock in the heat of the “Generation of ‘68” night. (The Generation of "68 designation a term of art among the brethren still standing who had faced down that seminal year in the history of the 1960s, some calling it the ebb tide year although Josh had pushed that forward over the years to 1971 the year when they had utterly failed to shut down the government if it would not shut the Vietnam War.) The woman maybe kin to Janis, maybe not, but certainly brethren who looked uncannily like his first ex-wife, Laura, who had taught him many little sex things learned from a trip to India and close attention to the Kama Sutra which he had passed on to everybody thereafter including Sarah. And no again don’t take that wistful though about Laura as anything but regret since their civil wars had passed a long time before and beside Laura had not been heard from since the time she went down to Rio and was presumably shacked up with some dope king or diamond king or something probably still earning her keep with those little India tricks. (Strange to think that straight-laced Forest Lawn-raised Laura knew all the tricks that some courtesans would blush at sine a look at her would say virgin until marriage. No way. 

Still looking at the tantalizing artwork Josh thought of the time of our time, passed. Of wistful women belting out songs, band backed-up and boozed-up, probably Southern Comfort if the dough was tight and there had been ginger ale or ice to cut the sweet taste or if it was late and if the package store was short of some good cutting whiskey, but singing, no, better evoking, yes, evoking barrelhouse down-trodden black empresses and queens from somewhere beyond speaking troubled times, a no good man taking up with that no good best girlfriend  of hers who drew a bee-line to him when that empress advertised his charms, no job, no prospect of a job and then having to go toe to toe with that damn rent collector man on that flattened damn mattress that kept springing holes, maybe no roof over a head and walking the streets picking up tricks to pass the time, no pocket dough, no prospects and a ton of busted dreams in some now forgotten barrelhouse, chittlin’ circuit bowling alley complete with barbecued ribs smoking out back or in a downtown “colored” theater. Or the echo of that scene, okay. Jesus, maybe he had better kick that dope thing before he actually did start heading to Rio.

*******

Josh Breslin (a. k. a. the Prince of Love, although some merry prankster yellow brick road bus wit made a joke of that moniker calling him the Prince of Lvov, some Podunk town in Poland, or someplace like that, maybe Russia he was not sure of the geography all he knew was that he had made a wag wiggle a little for his indiscretion)  was weary, weary as hell, road- weary, drug-weary, Captain Crunch’s now Big Sur–based magical mystery tour, merry prankster, yellow brick road bus-weary, weary even of hanging out with his “papa,” “Far-Out” Phil Larkin who had gotten him through some pretty rough spots weary. Hell, he was girl-weary too, girl weary ever since his latest girlfriend, Gypsy Lady (nee Phyllis McBride but in a time when everyone in youth nation was shedding "slave" names the moniker of the day or week was the way that you identified most fellow travelers-that was just the way it was and kind of nice when you thought about it-wouldn't you rather be Moonbeam than some Susan something), decided that she just had to go back to her junior year of college at Berkeley in order to finish up some paper on the zodiac signs and their meaning for the new age rising.

Yeah, okay Gypsy, do what you have to do, the Prince mused to himself. Chuckled really, term paper stuff was just not his “thing” right then. Hell, he had dropped out of State U, dropped out of Laura Perkin’s life, dropped out of everything to chase the Western arroyo desert ocean washed dream that half his generation was pursuing just then.

Moreover this summer of 1968, June to be exact, after a year bouncing between summers of love, 1967 version to be exact, autumns of drugs, strange brews of hyper-colored experience drugs and high shamanic medicine man aztec druid flame throws, winters of Paseo Robles brown hills discontent, brown rolling hills until he sickened of rolling, the color brown, hills, slopes, plains, everything, and springs of political madness what with Johnson’s resignation, Robert Kennedy’s assassination piled on to that of Martin Luther King’s had taken a lot out of him, including his weight, weight loss that his already slim former high school runner’s frame could not afford.

Now the chickens had come home to roost. Before he had joined Captain Crunch’s merry prankster crew in San Francisco, got “on the bus,” in the youth nation tribal parlance, last summer he had assumed, after graduating from high school, that he would enter State U in the fall (University of Maine, the Prince is nothing but a Mainiac, Olde Saco section, for those who did not know). After a summer of love with Butterfly Swirl though before she went back to her golden-haired surfer boy back down in Carlsbad (his temperature rose even now every time he thought about her and her cute little tricks to get him going sexually and she had never heard of the Kama Sutra) and then a keen interest in a couple of other young women before Gypsy Lady landed on him, some heavy drug experiences that he was still trying to figure out, his start–up friendship with Phil, and the hard fact that he just did not want to go home now that he had found “family” decided that he needed to “see the world” for a while instead. And he had, at least enough to weary him.

What he did not figure on, or what got blasted into the deep recesses of his brain just a couple of days ago, was a letter from his parents with a draft notice from his local board enclosed. Hell’s bells he had better get back, weary or not, and get some school stuff going real fast, right now fast. There was one thing for sure, one nineteen-year old Joshua Lawrence Breslin, Olde Saco, Maine High School Class of 1967, was not going with some other class of young men to ‘Nam to be shot at, or to shoot.

Funny, Josh thought, as he mentally prepared himself for the road back to Olde Saco, how the past couple of months had just kind of drifted by and that he really was ready to get serious. The only thing that had kind of perked him up lately was Ruby Red Lips (nee Sandra Kelly), who had just got “on the bus” from someplace down South like Georgia, or Alabama and who had a great collection of blues records that he was seriously getting into (as well as seriously into Miss Ruby, as he called her as a little bait, a little come on bait, playing on her somewhere south drawl, although she seemed slow, very slow, to get his message).

Josh, all throughout high school and even on the bus, was driven by rock ‘n’ roll. Period. Guys like Elvis, Chuck, Jerry Lee, even a gal like Wanda Jackson, when they were hungry, and that hunger not only carried them to the stars but slaked some weird post-World War II, red scare, cold war hunger in guys like Josh Breslin although he never, never in a million years would have articulated it that way back then. That was infernal Captain Crunch’s work (Captain was the “owner” of the “bus” and a story all his own but that is for another time) always trying to put things in historical perspective or the exact ranking in some mythical pantheon that he kept creating (and recreating especially after a “dip” of Kool-Aid, LSD for the squares, okay).

But back to Ruby love. He got a surprise one day when he heard Ruby playing Shake, Rattle, and Roll. He asked, “Is that Carl Perkins?” Ruby laughed, laughed a laugh that he found appealing and he felt was meant to be a little coquettish and said, “No silly, that's the king of be-bop blues, Big Joe Turner. Want to hear more stuff?” And that was that. Names like Skip James, Howlin’ Wolf, Robert Johnson, Son House, Muddy Waters and Little Walter started to fill his musical universe.

What got him really going though were the women singers, Sippie Wallace that someone, Bonnie Raitt or Maria Muldaur, had found in old age out in some boondock church social or something, mad Bessie Smith squeezed dry, freeze-dried by some no account Saint Louis man and left wailing, empty bed, gin house wailing ever after, a whole bunch of other barrelhouse blues-singers named Smith, Memphis Minnie, the queen of the double entendre, sex version, with her butcher, baker, candlestick-maker men, doing, well doing the do, okay, and the one that really, really got to him, “Big Mama” Thornton. The latter belting out a bluesy rendition of Hound Dog made just for her that made Elvis' seem kind of punk, and best of all a full-blast Piece Of My Heart.

Then one night Ruby took him to club over in Monterrey just up the road from the Big Sur merry prankster yellow bus camp, the Blue Note, a club for young blues talent, mainly, that was a stepping-stone to getting some work at the Monterrey Pop Festival held each year. There he heard, heard if you can believe this, some freckled, red-headed whiskey-drinking off the hip girl (or maybe some cheap gin or rotgut Southern Comfort, cheap and all the in between rage for those saving their dough for serious drugs).

Ya just a wisp of a girl, wearing spattered blue-jeans, some damn moth-eaten tee-shirt, haphazardly tie-dyed by someone on a terminal acid trip, barefoot, from Podunk, Texas, or maybe Oklahoma, (although he had seen a fair share of the breed in Fryeburg Fair Maine) who was singing Big Mama’s Piece of My Heart. And then Ball and Chain, Little School Girl, and Little Red Rooster.

Hell, she had the joint jumping until the early hours for just as long as guys kept putting drinks in front of her. And maybe some sweet sidle promise, who knows in that alcohol blaze around three in the morning. All Josh knew was this woman, almost girlish except for her sharp tongue and that eternal hardship voice, that no good man, no luck except bad luck voice, that spoke of a woman’s sorrow back to primordial times, had that certain something, that something hunger that he recognized in young Elvis and the guys. And that something Josh guessed would take them over the hump into that new day they were trying to create on the bus, and a thousand other buses like it. What a night, what a blues singer.

The next day Ruby Red Lips came over to him, kind of perky and kind of with that just slightly off-hand look in her eye that he was getting to catch on to when a girl was interested in him, and said, “Hey, Janis, that singer from the Blue Note, is going to be at Monterrey Pops next month with a band to back her up, want to go? And, do you want to go to the Blue Note with me tonight?” After answering, yes, yes, to both those questions the Prince of Love (and not some dinky Lvov either, whoever that dull-wit was) figured he could go back to old life Olde Saco by late August, sign up for State U., and still be okay but that he had better grab Ruby now while he could.

Songs To While Away The Class Struggle By-In Honor Of The Frontline Defenders Of The International Working Class-From Our Forebears The Diggers Of The English Revolution-“The World Turned Upside Down”

Songs To While Away The Class Struggle By-In Honor Of The Frontline Defenders Of The International Working Class-From Our Forebears The Diggers Of The English Revolution-“The World Turned Upside Down”




YouTube film clip of Billy Bragg (Known In This Space As Narrator Of Woody Guthrie And His Guitar: The Machine Kills Fascists )performing The World Turned Upside Down.
****
An Injury To One Is An Injury To All!-Defend The International Working Class Everywhere!
********
Fight-Don’t Starve-We Created The Wealth, Let's Take It Back! Labor And The Oppressed Must Rule!
********
A Five-Point Program As Talking Points
*Jobs For All Now!-“30 For 40”- A historic demand of the labor movement. Thirty hours work for forty hours pay to spread the available work around. Organize the unorganized- Organize the South- Organize Wal-Mart- Defend the right for public and private workers to unionize.

Defend the working classes! No union dues for Democratic (or the stray Republican) candidates. Spent the dough instead on organizing the unorganized and on other labor-specific causes (good example, the November, 2011 anti-union recall referendum in Ohio, bad example the Wisconsin gubernatorial recall race in June 2012).

*End the endless wars!- Immediate, Unconditional Withdrawal Of All U.S./Allied Troops (And Mercenaries) From Afghanistan! Hands Off Pakistan! Hands Off Iran! U.S. Hands Off The World!

*Fight for a social agenda for working people!. Quality Healthcare For All! Nationalize the colleges and universities under student-teacher-campus worker control! Forgive student debt! Stop housing foreclosures!

*We created the wealth, let’s take it back. Take the struggle for our daily bread off the historic agenda. Build a workers party that fights for a workers government to unite all the oppressed.
************
As Isaac Deutscher said in his speech “On Socialist Man” (1966):

“We do not maintain that socialism is going to solve all predicaments of the human race. We are struggling in the first instance with the predicaments that are of man’s making and that man can resolve. May I remind you that Trotsky, for instance, speaks of three basic tragedies—hunger, sex and death—besetting man. Hunger is the enemy that Marxism and the modern labour movement have taken on.... Yes, socialist man will still be pursued by sex and death; but we are convinced that he will be better equipped than we are to cope even with these.”
**************
Emblazon on our red banner-Labor and the oppressed must rule! 

***********
Markin comment:

In this series, presented under the headline Songs To While Away The Class Struggle By, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here.

THE FOLLOWING IS A SONG BASED ON THE DIGGER EXPERIENCE IN 1650

If John Milton was the literary muse of the English Revolution then the Diggers and their leader, Gerrard Winstanley, were the political muses.

The World Turned Upside Down


We will not worship the God they serve, a God of greed who feeds the rich while poor folk starve.
In 1649 to St. George's Hill
A ragged band they called the Diggers came to show the people's
will
They defied the landlords, they defied the laws
They were the dispossessed reclaiming what was theirs.
We come in peace, they said, to dig and sow
We come to work the lands in common and make the waste
ground grow

This earth divided we will make whole
So it may be a common treasury for all "**
The sin of property we do disdain
No man has any right to buy or sell the earth for private gain

By theft and murder they took the land
Now everywhere the walls spring up at their command
They make the laws to chain us well
The clergy dazzle us with heaven, or they damn us into hell

We will not worship the God they serve,
a God of greed who feeds the rich while poor folk starve
We work and eat together, we need no swords
We will not bow to masters, nor pay rent to the lords

Still we are free, though we are poor
Ye Diggers all, stand up for glory, stand up now!
From the men of property the orders came
They sent the hired men and troopers to wipe out the Diggers'
claim

Tear down their cottages, destroy their corn
They were dispersed - only the vision lingers on
Ye poor take courage, ye rich take care
This earth was made a common treasury for everyone to share
All things in common, all people one
They came in peace - the order came to cut them down

WORDS AND MUSIC BY LEON ROSSELSON, 1981

In The Age Of A Cold Civil War-Immigrant Or Citizen- Know Your Rights From The ACLU-Short Course

In The Age Of A Cold Civil War-Immigrant Or Citizen- Know Your Rights From The ACLU-Short Course 

Comment

          In the age of Trump no matter how many generations you and yours have been here in America the beginning of wisdom is to know your rights such as they are and who to contact if they “come in the morning” for you and yours.






   

The 50th Anniversary Of The Summer Of Love-And Of The Beatles "Sgt. Pepper's Lonely Heart Club" Album (2017)

The 50th Anniversary Of The Summer Of Love-And Of The Beatles "Sgt. Pepper's Lonely Heart Club" Album (2017)   

Zack James comment;

Frankly although I was only a young very young teenager at the time I was not as enamored of this album as my older brothers and sisters were who were knee deep into the drug, sex and counter-cultural revolutions (which drove my conservative parents crazy) which I only knew about in passing. 50 years later I have the same impression-this album like the Stones' effort of the same time period Their Satanic Majesties have not to my ear aged well. (You do not see a single song from that album on any recent Stones' concert playlists.) Whereas let's say the almost unique It's A Beautiful Day album or some of the Jefferson Airplane albums like After Bathing At Baxter's seem still pretty fresh and representative of that sweet world time.  










The 50th Anniversary Of The Summer Of Love-And Of The Beatles "Sgt. Pepper's Lonely Heart Club" Album (2017)

The 50th Anniversary Of The Summer Of Love-And Of The Beatles "Sgt. Pepper's Lonely Heart Club" Album (2017)   

Zack James comment;

Frankly although I was only a young very young teenager at the time I was not as enamored of this album as my older brothers and sisters were who were knee deep into the drug, sex and counter-cultural revolutions (which drove my conservative parents crazy) which I only knew about in passing. 50 years later I have the same impression-this album like the Stones' effort of the same time period Their Satanic Majesties have not to my ear aged well. (You do not see a single song from that album on any recent Stones' concert playlists.) Whereas let's say the almost unique It's A Beautiful Day album or some of the Jefferson Airplane albums like After Bathing At Baxter's seem still pretty fresh and representative of that sweet world time.  










The 100th Anniversary Of The Birth Of Film Actor, Noir Film Actor, Robert Mitchum (2017) -Hats Off!

The 100th Anniversary Of The Birth Of Film Actor, Noir Film Actor, Robert Mitchum (2017) -Hats Off!


Film Critic Emeritus Sam Lowell comment:

No question I am despite my putting myself "out to pasture" more than happy to do a short guest appearance to pay tribute to the 100th anniversary of the birth of film actor Robert Mitchum. The headline speaks of a film noir actor although he did many more types of films. But to my mind his classic statement of his acting persona came in the great performance he did in Out Of The Past where between being in the gun sights of an angry gangster and the gun sights of a gun crazy femme played by Jane Greer damn did he have his hands full. More later but check this little clip out as a sampler.     


*Legends Of The Country Blues- Bukka White

Click On Title To Link To YouTube's Clip Of Bukka White doing "Poor Boy Long Way From Home". Wow.

DVD REVIEW

I have, as yet, not been able to find a copy of Bukka White's work. I am looking for something that has his classic (and fantastic) "Abedeen Missisippi Woman" on it. Until then I will place a previous review of White and fellow country blues musician Son House.

Kicking The Country Blues- Son House and Bukka White

Son House and Bukka White: Masters Of The Country Blues, hosted by Taj Mahal, Yazoo Videos, 1991

I have reviewed the music of country blues legend Son House elsewhere in this space (and above in this entry) and expected to review this documentary solely on the basis of a comment there. I mentioned there that in 1963 Son House, Skip James and Mississippi John Hurt performed at the Newport Folk Festival, a historic Delta blues occasion. One of the vivid cinematic scenes from that event was Son House flailing his National steel guitar, trance like, on the classic "Death Letter Blues". I assumed that I was going to see that performance here. That was not the case. However, with solid introductions to both performers by blues legend Taj Mahal we are treated to a little different look at Son House and a new look at Bukka White.

The Son House segments here concentrate on the lifelong tension between a career in preaching, Baptist style of course, and ‘doin’ the devil’s work’ of singing the blues (and along the way doing a little whiskey drinking, womanizing and hell-raising). House is interviewed here trying to lay out his philosophy, his theology and his acknowledgement that the whiskey and women mainly got the best of him. The actual musical presentation is rather short and religiously oriented- "Death Letter Blues", "John The Revelator" and the like. If you want Son House at his most musical you will have to look elsewhere, mainly to his CDs. If you want to know the man behind the music a little this is for you.

Enough of Son House here though. The real story of this documentary is that the lesser known (at least to me and others that I know who follow the blues) Bukka White steals the show in his segments. Not only is he a better and more versatile guitar player than Son House but he jumps with his musical compositions here. Let us leave it, for now, that if you want to get introduced to Brother White then this is a very good way to start. I might add that in a segment of The Howlin’ Wolf Story that I am also currently in the process of reviewing that White also steals the show from the legendary Wolf with his guitar playing. That said, the reader can expect that Brother White will shortly be getting an individual entry in this space. Yes, indeed, he will.

Bukka White - Aberdeen, Mississippi blues Lyrics
Album: Parchman Farm Blues


I was over in Aberdeen
On my way to New Orlean
I was over in Aberdeen
On my way to New Orlean
Them Aberdeen women told me
Will buy my gasoline

Hey, two little women
That I ain't ever seen
They has two little women
That I ain't never seen
These two little women
Just from New Orlean

Ooh, sittin' down in Aberdeen
With New Orlean on my mind
I'm sittin' down in Aberdeen
With New Orlean on my mind
Well, I believe them Aberdeen women
Gonna make me lose my mind, yeah

(slide guitar & washboard)

Aber-deen is my home
But the mens don't want me around
Aberdeen is my home
But the men don't want me around
They know I will take these women
An take them outta town

Listen, you Aberdeen women
You know I ain't got no dime
Oh-oh listen you women
You know'd I ain't got no dime
They been had the po' boy
All up and down.

(guitar & washboard to end)
July 4: CELEBRATING A “SLAVEHOLDER’S REPUBLIC”-“WHAT TO THE AMERICAN SLAVE IS YOUR 4TH OF JULY?”  James Earl Jones Reads Frederick Douglass’s Historic Speech (July 5, 1852)


July 4: CELEBRATING A “SLAVEHOLDER’S REPUBLIC”
Modern histories of the American Revolution rightly emphasize the interests of slaveholders and land speculators hungry to overthrow Britain’s limits to westward expansion into Native lands.  The colonial leaders debated publicly what sort or government they wanted, but they were unanimous in rejecting “Democracy,” a word which appears nowhere in the Declaration of Independence or the US Constitution.
 
“WHAT TO THE AMERICAN SLAVE IS YOUR 4TH OF JULY?”
James Earl Jones Reads Frederick Douglass’s Historic Speech (July 5, 1852)
 
Click on the image above to watch and listen!
 
*   *   *   *
RENAMING FANEUIL HALL WOULD NOT ERASE HISTORY
We must face some sobering facts: Peter Faneuil — for whom Faneuil Hall is named — was a slave trader, a purveyor of human flesh, an international trafficker of people whose lives he left in ruins…  In defense of retaining the name of Faneuil Hall, many say we should “not change history.” Here we misunderstand that history is always changing in light of new discovery, which is the product of tireless effort to verify truth claims. Without such an approach, we would have held steadfastly to wrong-headed conceptions of the galaxy when new methods, facts, and revelation compel us all otherwise.  In a similar vein, many reject renaming Faneuil Hall because it would “erase” the history of Peter Faneuil a great Bostonian, a “scion of the French Huguenots… fleeing oppression” themselves. But what about Peter Faneuil’s complicity with the slave trade and ownership of other humans? And what about the long and obscured history of blacks in Boston, which we willingly ignore, suppress and reject? In other words, is the historical narrative of black slaves in Boston as important as the stories of whites in our city? Yes, of course.  The move to rename Faneuil Hall should not be viewed as an attempt to “erase history” or change the past. Logic dictates that this is impossible. But remembering history is possible and necessary should we desire to embrace our democratic birthright.   More
 

Once Again On The Cultural Front of The 1960s Uprising-The 50th Anniversary Of The Musical “Hair” On Broadway-A Few Thoughts

Once Again On The Cultural Front of The 1960s Uprising-The 50th Anniversary Of The Musical “Hair” On Broadway-A Few Thoughts 



A link to an National Public Radio On Point program featuring the 50th anniversary of the musical and it meaning then, and now:

http://www.wbur.org/onpoint/2018/05/04/fifty-years-of-hair 



By Si Lannon


The first time I heard that Seth Garth was going to preempt political aficionado Frank Jackman and do the 200th anniversary of the birth of Communist Manifesto writer Karl Marx was upon publication under the former’s name. Which pisses me off since I have been squeezed out apparently of getting any assignments around the incredible number of 1968 events which are having their 50th anniversary commemorations. (The Marx 200th birthday anniversary thing intersects 1968 via a then growing interest in his theories among students and young radicals once the old tactics and strategy around Democratic Party takeover politics went asunder.) Upon privately complaining to site manager Greg Green he gave me this assignment to make a few comments of the 50th anniversary of the musical Hair, on Broadway at least although it had been off-Broadway the year before, one of the few musicals that could have possibly captured some of the pathos, bathos and essence of what was going on in all its messy splendor in that year.

Hair represented that trend away from goodie two shoes formula entertainment like song and dance musicals and thinly pitched family dramatic productions. That represented what the audiences of the 1950s were interested in and still had, have a place in the Great White Way scheme of things. But the unacknowledged (at the time not so now once the cultural critics took their long look at the subject) effect of the vanguard work that was being done in little theaters for little money for little audiences finally took root. Artaud’s Theater of the Absurd, Brecht’s didactic efforts and the like finally found a more receptive general audience. So Hair in 1967-68 did not raise as many hairs (no pun intended among the theater going public as it might have earlier in the decade when it would have been treated as an end of run “beat” saga. That is no to say the subject of intense profanity, vivid sexual reference, an interracial cast and endless paeans to drugs of all sorts didn’t raise hackles, didn’t have members of the audience walking out shaking their heads but as word got out that this was a generational sage for the agents of the Age of Aquarius the thing couldn’t be stopped. And as one voice in the above-mentioned link noted she was still playing in, albeit in Vermont one of the last real refuses of the survivors of the Generation of ’68 along with the Oregon woods and maybe Seattle now that nobody with any left-over hippie aspiration could afford to live in any part of San Francisco except maybe the streets, is still being produced someplace in this wild wicked old land.         

In a funny sort of way the saga of Hair almost accidently traced the line of the 1960s explosion but more importantly in one place stamped “youth nation” as a tribal village like it had never been before, although you could have seen around the edges of it all the way back to the wild boys of the West Coast in their souped up jalopies and hot rods with a “don’t give fuck” about the golden age of American prosperity aborning, the bad boys offspring of the Okie migration that said the more menacing “fuck you up” of the outlaw bikers with their big “hogs” and larcenous hearts, the alienated teen angst misunderstood “please don’t fuck with my head” rebel without a cause types who cooled on James Dean, and the “fuck, fuck, fuck” beat boys talking a blue streak about junkies, negro streets and jailbreaks. And you wonder why youth nation jumped right in the middle of all this when the social situation ran up against racial segregation, sexual uptightness, the fucking war in Vietnam which formed on the corners that Hair hung its hat on since every single guy, and it was all guys then, from the most gung ho Green Beret film watcher to the most ardent draft resister had to deal with the draft and the generational question-go or resist-and the weird queer drag queen fag baiting and women’s liberation.

That draft issue, that each and every guy and by extension their lovers, caught between a rock and a hard place was no joke. Was centrally why Hair spoke to a generation struggling with that very issue-to go or resist- a question that the parents’ generation had almost no conception of since they had fought, or waited anxiously at the door, in their “good war” and could not understand their kids and their idea that maybe going off to kill people, poor people, who they had no quarrel had to be thought about. Claude, a lead character had plenty to think about doped up to the gills or not. The other stuff about race, sex, dope, the signs of the Zodiac, karma, mediation, oneness with the world flow from that central concern.

It wasn’t all beautiful by any means and the threads that hung “youth nation” together came asunder readily enough once the counter-offensive by the night-takers began in earnest (and as Seth Garth and Frank Jackman have said we have been fighting a forty plus year cultural rearguard action against the bastards ever since with no letup in sight). Even in the halcyon days of the Summer of Love in 1967 which is the framework a lot of us had from my town under the guidance of the one and only Scribe, the late Peter Paul Markin who in the end fell under the bus himself, there was plenty of bad stuff going with people ripping people off for drugs, food, anything that was not nailed down. But that was a side issue like many things when something new is trying to breakout and not everybody is as pure as the driven snow and who knows who will show up.

The Captain Crunch-led converted yellow brick road bus we ran up and down the Pacific Coast Highway on picking up vagrant travelers and the wanderers of the youth nation world mostly were seekers, ranters, good people to have on your side when you are trying create a newer world out of what late capitalism and its social norms had left us to pick up the pieces with.

Like I said not everybody, not the Scribe in the end, could go the distance and once that critical mass which sustained the youth nation lost it love of plainsong, of seeking for the mysteries of the universe in a million different ways from tarot cards to LSD and everything in between, and the sense that we could win the drift went against us as people headed back to the confines of late capitalist bourgeois society. Headed back from that youthful detour, except of course those small enclaves mentioned earlier still existing in places like Vermont and Oregon if you ever get up that way. Everybody has some timeline for when the whole thing ebbed, after the hellish 1968 year of events being the prime candidate but that was/is for academics to ferret out. As Frank Jackman has said repeating what the Scribe said before he fell off the world-Wasn’t that a time, yeah, wasn’t that a time.



Sunday, July 08, 2018

When The Juke Joints Rocked And Nobody Cared About The Electricity-Delta Blues- And Then Some

When The Juke Joints Rocked And Nobody Cared About The Electricity-Delta Blues- And Then Some


Click On Title To Link To Rounder Records Web Page.

CD Review

Southern Journey, Highway 61, Mississippi Fred McDowell and various artists, Rounder Records, 1997

I have spent a fair amount of time recently reviewing, individually and on various artist compilations, performers from the 1960’s urban folk revival. You know, Bob Dylan, Joan Baez, Dave Van Ronk, Eric Von Schmidt and the like. I have also reviewed the earlier performers who influenced them on the more traditional folk side like Woody Guthrie and Pete Seeger. There was another component of that search for roots that entailed heading south to the Mississippi Delta (or the hills of North Carolina) and getting ‘religion’ on the black country blues scene.

I mentioned in a review of the performers who influenced the 1960’s urban folk scene that it did not fall from the sky but had been transmitted by earlier performers. That, my friends, applies as well to the search for the blues. I also mentioned that we all, later when we understood things better, appreciated that John and Allan Lomax did yeomen’s service to roots music by their travels into the hinterlands in the 1930’s and 1940’s (and had Pete Seeger tag along for a year and thus serve as a little transmission belt to the latter generation) to find blues, mountain and other types of American traditional music. However, most of us got our country blues infusion second-hand through our addiction to local coffeehouses and the performers who provided us entertainment. They, in turn, learned their material from the masters who populate this CD.

This CD compilation is filled with the legends of the genre like the renowned Mississippi Fred McDowell (a major influence on and mentor of Bonnie Raitt). Moreover it contains fife and drum music from North Mississippi, which can be traced back to the African roots, and work songs that do not get nearly enough attention (including by this reviewer) as the work of the Delta artists like McDowell, Son House, John Hurt and Bukka White. Nicely done.

Devil Got My Woman lyrics

You know, I'd rather be the ol' devil
Well, I'd rather be the devil
Then to be that woman' man
You know, rather be the devil
Than to be that woman' man

You know, I'm so sorry
You know, so sorry
That I ever fell in love wit' you-ooo-hoo-oo
Because you know you don't treat me
Baby, like you used ta do-hoo

You know, I laid down last night
You know, I laid down last night
And I thought to take me some rest
But my mind got to rambling
Like a wild geese from the west

You know the woman that I love
The woman that I love
I stol't her from my best friend
But you know he done got lucky
An he done got her back, again

You know, I used to cut your kindleing
You know, I used to cut your kindleing
Baby, then I made you some fire
Then I would tote all your water
Way, way, way, from the bogy brier

You know, my baby she don't drink whiskey
My baby, she don't drink no whiskey
An I know she ain't crazy about wine
Now, it was nothin' but the ol' devil
He done changed my baby's mind

You know, I could be right
You know, I could be right
Then again, I could be wrong
But it was nothin' but the ol' devil
He done got my baby
Now he done gone.

I'm So Glad lyrics

Eee, an I'm so glad
Yes sir, I'm glad
Until I just don't know
What to do

An I am tired a-weeping
I'm so tired a-moanin'
I'm so tired of groanin' for you

(guitar)

Eee, an I am so -
Yes, I am mighty glad
Until I just don't know what -

Would you be my little darlin'?
Would you be my dear?
Would you be my darlin'
Be my dear?

Then I would be mighty -
I would be mighty glad
Then I just wouldn't know
What to do

When I say, 'Coo-coo-coo'
Just like a little baby, do
I would love to have
A lovely kiss from you

Then I would be mighty -
Then I would be so -
Until I just wouldn't know -

You know, I'm tired a-weeping
I'm so tired of a-moanin'
I'm so tired of groanin' for you

(guitar)

Eee, an I am so glad
Yes, I'm so glad
Until I just don't know
What to do-ooo-woo-ooo-ooo.

Cherry Ball Blues lyrics

I love my little cherry ball
Better than I love myself
I love my cherry ball
Better than I love myself
Then if she don't love me
She can't love nobody else

Cherry ball, she quit me
Quit me in a nice, good way
Cherry ball, she quit me
Quit me in a nice, good way
You know, what it take to get her back
I carries it ev'ryday

Now, I left cherry ball standin'
Standin' in the back do' cryin'
Now, I left cherry ball
Standin' in the back do' cryin'
Of course, I feel her condition
But her trouble ain't none a-mine

She's just like a spider
She's hangin' on the wall
She's like a spider
She's hangin' on the wall
You know, she done quit me
She quit me without a cause

Now, when she left me
She left tears in my eye
Now, when she left me
She left tears in my eye
You know, that I love her
But her disposition I do dispise

Now, you can take the Southern
I'm 'on take the Sante Fe
Now, you take the Southern
I'm 'on take the Sante Fe
I'm gon' ride an gon' ramble
'Till cherry ball come back to me

She got to come on back home to me-ee-ee.

Son House - Death Letter lyrics

Lyrics to Death Letter :


I got a letter this mornin, how do you reckon it read?
It said, "Hurry, hurry, yeah, your love is dead"
I got a letter this mornin, I say how do you reckon it read?
You know, it said, "Hurry, hurry, how come the gal you love is dead?"

So, I grabbed up my suitcase, and took off down the road
When I got there she was layin on a coolin' board
I grabbed up my suitcase, and I said and I took off down the road
I said, but when I got there she was already layin on a coolin' board

Well, I walked up right close, looked down in her face
Said, the good ol' gal got to lay here 'til the Judgment Day
I walked up right close, and I said I looked down in her face
I said the good ol' gal, she got to lay here 'til the Judgment Day

Looked like there was 10,000 people standin' round the buryin' ground
I didn't know I loved her 'til they laid her down
Looked like 10,000 were standin' round the buryin' ground
You know I didn't know I loved her 'til they damn laid her down

Lord, have mercy on my wicked soul
I wouldn't mistreat you baby, for my weight in gold
I said, Lord, have mercy on my wicked soul
You know I wouldn't mistreat nobody, baby, not for my weight in gold

Well, I folded up my arms and I slowly walked away
I said, "Farewell honey, I'll see you on Judgment Day"
Ah, yeah, oh, yes, I slowly walked away
I said, "Farewell, farewell, I'll see you on the Judgment Day"

You know I went in my room, I bowed down to pray
The blues came along and drove my spirit away
I went in my room, I said I bowed down to pray
I said the blues came along and drove my spirit away

You know I didn't feel so bad, 'til the good ol' sun went down
I didn't have a soul to throw my arms around
I didn't feel so bad, 'til the good ol' sun went down
You know, I didn't have nobody to throw my arms around

I loved you baby, like I love myself
You don't have me, you won't have nobody else
I loved you baby, better than I did myself
I said now if you don't have me, I didn't want you to have nobody else

You know, it's hard to love someone that don't love you
Ain't no satisfaction, don't care what in the world you do
Yeah, it's hard to love someone that don't love you
You know it don't look like satisfaction, don't care what in the world you do

Got up this mornin', just about the break of day
A-huggin' the pillow where she used to lay
Got up this mornin', just about the break of day
A-huggin' the pillow where my good gal used to lay

Got up this mornin', feelin' round for my shoes
You know, I must-a had them old walkin' blues
Got up this mornin', feelin' round for my shoes
Yeah, you know bout that, I must-a had them old walkin' blues

You know, I cried last night and all the night before
Gotta change my way a livin', so I don't have to cry no more
You know, I cried last night and all the night before
Gotta change my way a livin', you see, so I don't have to cry no more

Ah, hush, thought I heard her call my name
If it wasn't so loud and so nice and plain
Ah, yeah
Mmmmmm

Well, listen, whatever you do
This is one thing, honey, I tried to get along with you
Yes, no tellin' what you do
I done everything I could, just to try and get along with you

Well, the minutes seemed like hours, hours they seemed like days
It seemed like my good, old gal outta done stopped her low-down ways
Minutes seemed like hours, hours they seemed like days
Seems like my good, old gal outta done stopped her low-down ways

You know, love's a hard ol' fall, make you do things you don't wanna do
Love sometimes leaves you feeling sad and blue
You know, love's a hard ol' fall, make you do things you don't wanna do
Love sometimes make you feel sad and blue

Son House - Preachin' Blues lyrics
Lyrics to Preachin' Blues :


Oh, I'm gonna get me a religion, I'm gonna join the Baptist Church
Oh, I'm gonna get me a religion, I'm gonna join the Baptist Church
I'm gonna be a Baptist preacher, and I sure won't have to work

Oh, I'm a-preach these blues, and I, I want everybody to shout
I want everybody to shout
I'm gonna do like a prisoner, I'm gonna roll my time on out

Oh, I went in my room, I bowed down to pray
Oh, I went in my room, I bowed down to pray
Till the blues come along, and they blowed my spirit1 away

Oh, I'd-a had religion, Lord, this every day
Oh, I'd-a had religion, Lord, this every day
But the womens and whiskey, well, they would not set me free

Oh, I wish I had me a heaven of my own
Hey, a heaven of my own
Till I'd give all my women a long, long, happy home

hey, I love my baby, just like I love myself
Oh, just like I love myself
Well, if she don't have me, she won't have nobody else

Son House - Pony Blues lyrics
Lyrics to Pony Blues :


Why don't you catch my pony, now saddle up my black mare?
...my pony, saddle up, up my black mare?
You know, I'm gonna find my baby, well, in the world somewhere

You know, he's a travelin' horse, an' he's too black bad
He's a travelin' pony, I declare, he's too black bad
You know, he got a gait, now, no Shetlan' ain't never had

You know, I taken him by the rein an' I led him around and 'round
I say, I taken him by the reins an' I, I led him, him 'round and 'round
You know, he ain't the best in the world, but he's the best ever been in this town

You know, he's a travelin' horse and he don't deny his name
He's a travelin' pony and he don't deny his name
You know, the way he can travel is a low-down, old, dirty shame

Why don't you come up here, pony, now come on, please let's us go
I said, "Come up, get up now, please pony, now let's us go"
Let's we saddle on down on the Gulf of, of Mexico

You know, the horse that I'm ridin', he can fox-trot, he can lope and pace
I say, the pony I'm ridin', he can fox-trot, he can lope and pace
You know, a horse with them many gaits, you know, I'm bound to win the race

He's a travelin' horse an' he don't deny his name
He's a travelin' pony, he don't deny his name
the way he can travel is a low-down, old, dirty shame


Aberdeen Mississippi 2:33 Trk 9

Bukka White (Booker T. Washington White)
Bukka White - vocal & guitar
& Washboard Sam (Robert Brown) - wshbrd.
Recorded: March 7th & 8th 1940 Chicago, Illinois
Album: Parchman Farm Blues, Roots RTS 33055
Transcriber: Awcantor@aol.com



I was over in Aberdeen
On my way to New Orlean
I was over in Aberdeen
On my way to New Orlean
Them Aberdeen women told me
Will buy my gasoline

Hey, two little women
That I ain't ever seen
They has two little women
That I ain't never seen
These two little women
Just from New Orlean

Ooh, sittin' down in Aberdeen
With New Orlean on my mind
I'm sittin' down in Aberdeen
With New Orlean on my mind
Well, I believe them Aberdeen women
Gonna make me lose my mind, yeah

(slide guitar & washboard)

Aber-deen is my home
But the mens don't want me around
Aberdeen is my home
But the men don't want me around
They know I will take these women
An take them outta town

Listen, you Aberdeen women
You know I ain't got no dime
Oh-oh listen you women
You know'd I ain't got no dime
They been had the po' boy
All up and down.

(guitar & washboard to end)


Fixin' To Die Blues lyrics

I'm lookin' funny in my eyes
And I believe I'm fixin' to die
Believe I'm fixin' to die
I'm lookin' funny in my eyes
Now, I believe I'm fixin' to die, yeah
I know I was born to die
But I hate to leave my children around cryin'
Yeah

Just as sho' we live
It's a, sho' we's born to die
Sho' we's born to die
Just as sho's we live
Sho' we's born to die
Yeah
I know I was born to die
But I hate to leave my children around cryin'
Yeah

Yo mother treated me, children
Like I was her baby child
Was her baby child
Yo mother treated me
Like I was her baby child
That's why's I sighed
Sighed so hard
And come back home to die
Yeah

So many nights at the fireside
How my chillen's mother would cry
How my chillen's mother would cry
So many nights at the fireside
How my chillen's mother would cry
Yeah
'Cause I told the mother I had to say, goodbye

Look over yon-der
On the buryin' ground
On the buryin' ground
Look over yonder, on the burying ground
Yon' stand ten thousand
Standin' still to let me down
Yeah

(washboard & guitar)

Mother, take my chillen back
Before they let me down
Before they let me down
Mother, take my chillen back
'Fore they let me down
Ain't no need a-them screamin' an cryin'
On the graveyard ground.

(washboard & guitar to end)


Shake 'em On Down lyrics

Yes, you're a nice girl, mama
And little girl
Night before day
We gonna
Shake 'em on down

I need some time holler, now
Oh, must I shake 'em on down
I done shout hollerin', now
Must I shake 'em on down

Too much is debted to me
Through the week
Save these chili peppers
Some ol' rainy day, here

Best I'm hollerin', now
Ooh, must I shake 'em on down
I done shout hollerin', now
Must I shake 'em on down, now

Fix my supper
Let me go to bed
This white lightnin' done gone
To my head

Oh, must I holler now
Ooh, must I shake 'em on down
I done shout hollerin', now
Must I shake 'em on down

I ain't been in Georgia, babe
I been told
Georgia women got the best
Jellyroll

These nights time holler, now
Oh, must I shake 'em on down
I done shout hollerin', mama
Must I shake 'em on down

See See mama, heard
You, done-done
Made me love you, now I know
Man done coming

Best I'm hollerin', now
Oh, must I shake 'em on down
I done shout hollerin', mama
Must I shake 'em on down

Pretty girl's got
They don't know
What it is
Make me drunk at that old
Whiskey still

It's best I'm hollerin', now
Oh, must I shake 'em on down
I done shout hollerin'
Must I shake 'em on down.

Poor Boy Long Way From Home by Bukka White Lyrics

Poor boy a long way from home
Poor boy I'm a long way from home
Poor boy I'm a long way from home
I don't have no happy home to go home to

When I left my home my baby's in my arms
When I left my home my baby's in my arms
When I left my home my baby's in my arms
She wanna know, 'Daddy, when you comin' back home?'

(guitar)

They got me down here on the farm
Got me down here on old farm
I don't have no one to come and go my bail
Baby, I wanna come back home to you

(guitar)

Sorry, baby I can't call you over the phone
Sorry, I can't call you over the phone
'Cause they got me down here long distance phone
But I can't call you baby over the phone.

(guitar to end)

*When The Sun Goes Down, Indeed!- The Blues Back In The Days

Click On The Title To Link To YouTube's Film Clip Of Tommy Johnson Performing The Politically Incorrect (Right?)"Big Fat Mama Blues".

CD Review

When The Sun Goes Down: The First Time I Met The Blues, various artists, BMG Music, 2002


In the course of the past year or so I have highlighted any number of blues CD compilations as I have tried to search for the roots of the American musical experience, and in the process retraced some of the nodal points of my own musical interests. I never tire of saying that I have been formed, and reformed by the blues so that when I came upon this “When The Sun Goes Down” series (a very apt expression of the right time for playing the blues) I grabbed each copy with both hands. In one series, the producers, as an act of love without question, have gathered up the obscure, the forgotten, the almost forgotten and the never to be forgotten voices that “spoke” to me in my youth and started me on that long ago love affair with the blues. I have hardly been alone on that journey but it is nice to see that some people with the resources, the time, money and energy have seen fit to honor our common past. Each CD reviewed here, and any future ones that I can get my hands on for there are more than the three I am reviewing today, is chock full of memorable performances by artists who now will, through the marvels of modern high technology, gain a measure of justified immortality.

Here is the cream. I swear, if I have some time, I will do real justice to the influence of one Victoria Spivey. For now though feast upon her youthful version of her composition “Telephoning The Blues”. Today the phrasing would probably require “Text-messaging The Blues” but anyway you put it old Victoria’s got them, and got them bad. The name Tommy Johnson should be more widely known today than it is. Blues performer and archivist Rory Block had covered a few of his songs many years ago but he deserves ‘re-discovery’, especially on this alcohol-related topical number “Canned Heat Blues”. This is the real stuff from the edges of society down in the hobo jungles. It is a tough dollar there, and that ain't no lie.

I only need to mention Blind Willie McTell here slightly as he is one of the few old voices that has not been forgotten, especially on the much covered, and deservedly so, “Statesboro Blues”. I have recently gotten back into that hybrid blues/folk sound produced by jug band music in reviews of Jim Kweskin, Maria Muldaur and Geoff Muldaur from the 1960’s Jim Kweskin and the Jug Band. Well, where do you think they got some of their material from? Natch, the Memphis Jug Band here doing the old classic “Stealin’, Stealin'” (ya, I love that phrase “stealin' back to my used-to-be” too) and “Cocaine Blues” (when it was legal, of course).

Anything done by Texas bluesman Furry Lewis is good (think of those “Cassie Jones”’, parts one and two, masterpieces of the slide guitar). Here is a whimsical one, “Judge Harsh Blues”. Same goes for Sippy Wallace, a blues singer who I have reviewed individually in this space, with her youthful rendition of “I’m A Mighty Tight Woman”. For comparison purposes her version done later when she was ‘discovered’ in the 1960’s is better. By the way, as an interesting example of how the old time country blues and the folk revival of the early 1960’s linked up, The Jim Kweskin Jug Band members mentioned above and Sippy shared many a stage together in those days. Nice, right? Texan Jimmy Rodgers demonstrates his incredible yodel work on “Blue Yodel #9” although I will argue, a little, about his inclusion here. He belongs in the pantheon of some genre but I do not think that it is the blues. Finally, a tip of the hat to the title tune “The First Time I Met The Blues” by Little Brother Montgomery. I rest my case.

Lyrics to Canned Heat Blues :

Crying, canned heat, canned heat, mama, crying, sure, Lord, killing me.
Crying, canned heat, mama, sure, Lord killing me.
Takes alcorub to take these canned heat blues.

Crying, mama, mama, mama, you know, canned heat killing me.
Crying, mama, mama, mama, crying, canned heat is killing me.
Canned heat don't kill me, crying, babe, i'll never die.

I woke up, this morning, crying, canned heat 'ourn my bed.
Run here, somebody, take these canned heat blues.
Run here, somebody, and take these canned heat blues.

[ Canned Heat Blues Lyrics on http://www.lyricsmania.com/ ]

*Has He Got His Mojo Workin'? - The Blues Harmonica Of The Late James Cotton

Click On Title To Link To YouTube's Film Clip Of James Cotton Doing "Slow Blues". Yes, now you know why he played with Muddy Waters.

Has He Got His Mojo Workin'? - The Blues Harmonica Of James Cotton

CD REVIEW

Got My Mojo Workin’, James Cotton and his band, Blu Mountain Records, 2003

I have, over the past year or so, spent some time tracing the roots of the blues from its southern country home, mainly on the plantations, farms and small towns that surround them, through its transition into the larger cities of the South where the crowds and hence the lyrics got more sophisticated and, ultimately, to the blues Mecca, Chicago, and other Northern cities where blacks migrated en masse between the two world wars and in the immediate post World War II period. As part of that exposition I have discussed not only the differences in the lyrics reflecting the changeover from the moaning and groaning of the plantation life to the hyper-intensity of city life. I have also mentioned the key change in the guitar going from some old acoustic instrument to the electric guitar of the cities.

Along the way I have failed to mention, or not mentioned enough, some of the other changes in instrumentation. For one, and this is relevant here, the harmonica. This instrument, as an accompanying sound, has a long history beyond its key place in the blues saga. However, with the citification of the blues its role in a blues band as back up to those electric guitars and drums became more central. In short, a strong harmonica player became necessary to fill in the spaces left by the reverberating guitar. Correspondingly, virtuosity on the harmonica brought its own rewards. I would argue that Sonny Boy Williamson's role in this change was key in the 1920's and 1930's followed by Lil' Walter of the early Muddy Waters Band. And who followed Walter - well, the artist under review here, James Cotton.

Like all talented musicians with any sense of leadership James Cotton, after serving his long apprenticeship with Muddy Waters, went on to form his own band. This CD is one of the results of those efforts. James, as always, plays the bejesus out of the harmonica. His backup band is a little more than adequate. The gruff-voiced Cotton does so-so a job on the vocals. However, this album left me drifting in and out. Some tracks are very fine like "Fanny Mae", "Good Morning Little Schoolgirl" and the title track "Got My Mojo Workin'". However, such numbers as "Goodbye My Lady", "Teenie Weenie Bit" and Help Me" seemed forced. I confess this is the only CD of Cotton's that I have reviewed but off of this performance I sure wish he had been back with Muddy wailing out on something like "Hootchie Gootchie Man".
Got My Mojo Working

by Preston Foster / McKinley Morganfield a.k.a. Muddy Waters

Got my mojo working, but it just won't work on you
Got my mojo working, but it just won't work on you
I wanna love you so bad till I don't know what to do

I'm going down to Louisiana to get me a mojo hand
I'm going down to Louisiana to get me a mojo hand
I'm gonna have all you women right here at my command

Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working, but it just won't work on you

Play on!

Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working, but it - uh uh - just won't work on you

__________
Note: the original version of Got My Mojo Working was sung in a jump blues style by Ann Cole. She performed the song on stage in 1956, which was how Muddy Waters found the song!. Muddy Waters adapted it to his style but the bassline is still the same. The song can be found on the 1999 Rhino Records anthology album Jump, Jive & Swing. These are the lyrics to the original version as sung by Ann Cole and written by Preston Foster:

FANNIE MAE

Well I want somebody to tell me what's wrong with me
I want somebody to tell me what's wrong with me
Oh I ain't in any trouble and so much misery
Now Fannie Mae, baby won't you please come home
Fannie Mae ae ae, baby won't you please come home
Yeah I ain't been in debt baby since you been gone
I can hear your name a ringin on down the line
I can hear your name a ringin on down the line
I want to know pretty love how do I win my time

MUSICAL INTERLUDE

I no o o o for me, I no-o-o-o for me
Well I ain't been in trouble and so much misery

Song Lyrics: Good Morning Little School Girl

Written and Recorded by: Sonny Boy Williamson II (1937)

--------------------------------------------------------------------------------
Good mornin' 'lil school girl,
can I go home, can I go home with you?
Tell your mother and your father,
I'm a little school boy too

Woke up this mornin',
woke up this mornin',
I didn't know what to,
I didn't know what to do
I didn't have no blues,
baby, bit I couldn't be satisfied

I'm gettin' me an airplane,
I'm gettin' me an airplane,
get in my airplane
Gon' fly all oh-oh, gon' fly all over this land
I'm gonna find my little school girl,
find her in the world somewhere

Good mornin' 'lil school girl,
good mornin' 'lil school girl
Can I go home with, can I go home with,
can I go home with you?
Tell your mother and your father,
Johnny little school boy too

Come be my baby, come be my baby,
I buy you a diamond, I buy you a diamond ring
You don't be my little baby,
I ain't gonna buy you a doggone ring

On The Cultural Front of The 1960s Uprising-The 50th Anniversary Of The Musical “Hair”-A Few Thoughts

On The Cultural Front of The 1960s Uprising-The 50th Anniversary Of The Musical “Hair”-A Few Thoughts 



A link to an National Public Radio On Point program featuring the 50th anniversary of the musical and it meaning then, and now:

http://www.wbur.org/onpoint/2018/05/04/fifty-years-of-hair  



By Si Lannon


The first time I heard that Seth Garth was going to preempt political aficionado Frank Jackman and do the 200th anniversary of the birth of Communist Manifesto writer Karl Marx was upon publication under the former’s name. Which pisses me off since I have been squeezed out apparently of getting any assignments around the incredible number of 1968 events which are having their 50th anniversary commemorations. (The Marx 200th anniversary thing intersects 1968 via a then growing interest in his theories among students and young radicals once the old tactics and strategy around Democratic Party takeover politics went asunder.) Upon privately complaining to site manager Greg Green he gave me this assignment to make a few comments of the 50th anniversary of the musical Hair, on Broadway at least although it had been off-Broadway the year before, one of the few musicals that could have possibly captured some of the pathos, bathos and essence of what was going on in all its messy splendor in that year.

Hair represented that trend away from goodie two shoes formula entertainment like song and dance musicals and thinly pitched family dramatic productions. That represented what the audiences of the 1950s were interested in and still had, have a place in the Great White Way scheme of things. But the unacknowledged (at the time not so now once the cultural critics took their long look at the subject) effect of the vanguard work that was being done in little theaters for little money for little audiences finally took root. Artaud’s Theater of the Absurd, Brecht’s didactic efforts and the like finally found a more receptive general audience. So Hair in 1967-68 did not raise as many hairs among the theater going public as it might have earlier in the decade when it would have been treated as an end of run “beat” saga. That is no to say the subject of intense profanity, vivid sexual reference, an interracial cast and endless paeans to drugs of all sorts didn’t raise hackles, didn’t have members of the audience walking out shaking their heads but as word got out that this was a generational sage for the agents of Aquarius the thing couldn’t be stopped. And as one voice in the above mentioned link noted she was still playing in, albeit in Vermont, one of the last real refuses of the survivors of the Generation of ’68 is still being produced someplace in this wild wicked old land.