Ry Cooder, Captain Beefheart, John Handy, Hard Work!

Hard Work. Hard Work.

Never killed anyone.

Or so the sages say.

But, Lord, Lord, it sure can make you dog tired.

What brought me to these thoughts?

Moving House.

Moving up into the hills.

Farming country criss crossed with ancient footpaths.

Moving all our stuff.

All our stuff.

All the Books!

All the Vinyl!

All the DVDs and CDs.

All the accumulated treasures and trifles of a lifetime to be boxed, bagged and loaded.

Now that is hard work!

Hard Work.

So, Dear Readers, precious little time to research and ponder deeply before writing.

So, so, I set the numbskulls free to roam in my brain’s music data base with ‘Hard Work’ as the search tag.

And, look what emerged!

From the 1970s two paens to the Working Life.

First up Saxophonist John Handy.

An alumnus of the Great Charles Mingus Band.

Classic solo on, ‘Goodbye Pork Pie Hat’

Here, he digs in and you just gotta go with the groove.

Hard Work. Hard Work.

Next. From the Soundtrack of Paul Schrader’s, directorial debut, ‘Blue Collar’ the one and only Captain Beefheart in the guise of a classic Blues Singer with, ‘Hard Working Man’.

Can’t you feel the gears grinding and the metal shuddering!

A constellation of talent on show.

Written and produced by Jack Nitzsche a shadowy guiding hand and presence involved with many great records for decades.

Guitar by Ry Cooder.

Ry has impact whenever he plays.

Hard Work! Hard Work!

The Contours : Do You Love Me (Motown – The Empire lifts off!)

You broke my heart ’cause I couldn’t dance
You didn’t even want me around
And now I’m back to let you know
I can really shake ’em down!’ (Berry Gordy)

Roma uno die non est condita.

Rome wasn’t built in a day.

It takes time to found a mighty Empire that will conquer all the known world.

So, from the founding of Rome (let’s say 753BC) to the final defeat of Carthage it was all of 600 years.

It is therefore somewhat remarkable it took Berry Gordy less than a decade from the founding of Motown in 1959 to establish an Empire that colonised the hearts and souls of music fans from Addis Abbaba to Zanzibar and Zagreb!

An $800 loan from his family became a multi, multi million dollar record company which would record songs that will last as long as we have Spirits that need lifting, hearts that need stirring (or consolation) and hips that just gotta move.

First, get yourself a base that you own.

Let’s show our ambition and call this base, ‘Hitsville USA’.

A Studio come Clubhouse where your singers and musicians can find competition and camaraderie 24 hours a day (acording to legend the local beat cop thought 2648 West Grand Drive Boulevard must be an all hours drinking den given the numbers of shady looking characters turning up at all hours of the day and night).

Next get yourself a live and play in the Basement group of musicians with Jazz chops who can fashion a wholly new sound – which is not jazz, not old school R&B, Blues or Rock n’ Roll.

Let’s call them The Funk Brothers and let’s have one of them, James Jamerson on Bass, be a fully fledged genius who will add grace and depth to every recording he ever plays on.

Let’s have a slogan calling that sound, ‘The Sound of Young America’ and let’s make so many great records that the slogan will became an every day reality on the airwaves and the charts.

And, we don’t mean, in still highly segregated America, the Black Music Charts .

No, no, no.

We mean the Pop Music charts.

Where the real money is to be made.

Open for Business and cast a cool appraising eye on all the would be stars who beat a path to your door.

This kid Smokey Robinson’s a Keeper – he’s got a notebook with hundreds of songs and he can sing ’em like a bird and work the Recording Desk too!

Not that I can’t write and produce myself.

You ever heard, ‘Reet Petite’ or, ‘Lonely Teardrops’?

Big Hits but Berry didn’t get the money!

Not going to happen again!

So, in 1960, New Frontier!, we get our first hit.

Barrett Strong with, ‘Money’ (bunch of English guys in Hamburg called The Beatles will learn a lot playing that one!).

Then Smokey comes up with, ‘Shop Around’ and by the end of the year we got a Million Seller!

Here comes 1961 and we get ourselves our first Pop Number One!

The Marvellettes, ‘Please Mr Postman’.

I got my eyes and ears on that Brian Holland – there’s a lot more hits where that came from!

Early ’62 I figure we need to find a song like, ‘Twist and Shout’ that will have all the White Kids, all the Black Kids and everybody who ain’t tied to a chair out on the floor and running down to the record store to lay down their cash.

Let’s call it, ‘Do You Love Me’.

I thought it might suit The Temptations but maybe they just sing too well for this one (I got big plans for them later).

So, what about The Contours?

Probably the best dancers of anyone who ever came through these doors!

Come to think of it Billy Gordon got a, ‘Wake the Dead and get ’em up Dancin” Voice if I ever heard one!

Next time they come through I’m gonna sit down at the piano and teach them the song one evening and record it the next day.

Gonna tell James to drive this one like a runaway train.

None of his fancy jazz licks – nail that backbeat to the Basement floor!

Of course, when Benny Benjamin is behind the Drums, the record is going to sound immense.

Immense.

Maybe I’ll start with a spoken intro and then let The Funk Brothers explode and tell Billy I don’t want him to be able to sing this song a second time ’cause I want him to tear his throats to shreds the first time!

Ok – let’s go!

Now, if that ain’t shaking ’em down I don’t know what is!

The Funk Brothers never let up and Billy Gordon’s lead vocal comes at you like a tidal wave.

Hubert Johnson, Billy Higgs, Joe Billingslea and Sylvester Potts make up a chorus that has an irresitble goofball charm. The trilling guitar comes from Huey Davis.

When I’ve managed to master some skill which has previously eluded me (and there’s a lot of them!) I just can’t stop myself singing, ‘I’ m back and I can really shake ’em down – Watch me now!’.

I love the corny spoken introduction, the false ending, the references to the Mashed Potato and The Twist and the bullfrog, ‘Um, Bom, Bom, Bom, brrrmm’ backing vocals.

Of course Berry got his hit!

Top 5 in every Chart and well over a Million copies sold.

They say it was the fastest selling single in the history of Motown.

Malheureusement, it was the pinnacle of The Contours career though they did make a handful of other excellent recordings.

They were simply too low down in the pecking order of Motown Vocal Groups.

And, when you consider they were up against the likes of The Four Tops and The Tempatations that is hardly to be wondered at.

There’s almost always been a version of the group out there driving a crowd crazy with, ‘Do You Love Me’.

And, by some mysterious alignment of the heavens, in 1987 the song gained a wholly unexpected new lease of life through being featured in the world wide hit film. ‘Dirty Dancing’ (even if they did, disgracefully, chop off the ending!).

One of the versions of The Contours got to go on a world tour and enjoy the big time once again.

Not so, for poor Billy Gordon.

For Billy died in poverty after spending time in prison (bizarrely with one time colleague Joe Billingslea being a Corrections Officer in the Prison!).

So it goes. So it goes.

Yet, every day someone, somewhere, has their life lit up by hearing Billy intone:

You broke my heart ’cause I couldn’t dance
You didn’t even want me around
And now I’m back to let you know
I can really shake ’em down!

And then, if they’ve got any blood in their veins they’ll go stone crazy for the next two and a half minutes.

Watch me Now!

Dedicated to :

Billy Gordon (RIP)

Sylvester Potts (RIP)

Hubert Johnson (RIP)

Huey Davis (RIP)

James Jamerson (RIP)

Benny Benjamin (RIP)

Joe Billingslea

Billy Hoggs

Notes:

Britain’s Ace Records has two excellent complications documenting The Contours recorded legacy.

Tracks to look out for –

‘First I Look at the Purse’

‘Whole Lotta Woman’

‘Shake Sherry’

‘Just A Little Misunderstanding’

Rod Stewart, Bryan Ferry, Dobie Gray : The In Crowd, Drift Away

We all like to think we are in the know.

We know important things.

Things that those not in the know don’t even know they don’t know.

A few code words and we know from their reaction, or lack of it, if others are in the know or not.

We soon know if they know.

We know whether or not they merit entry into the In Crowd.

If it’s square, brother we ain’t there!

In music, especially, there are communities of In Crowds.

I know some of these communities very well.

The Bluegrass buffs who can list, alphabetically, chronologically or by instrument every member of every incarnation of Bill Monroe’s Blue Grass Boys.

The Jazzbos who can do the same for Art Blakey’s Jazz Messengers.

The walkin’ talkin’, don’t interrupt me, Beatles completists who tell you solemnly that if you weren’t at their Port Sunlight show on 18 August 1962 (Ringo’s debut of course) then you really don’t know much about The Beatles.

The matrix number alchemists.

The, yes but have you got the Swedish pressing with the alternate take of track 3 on the EP, show offs.

The, of course, I’ve got The Complete Basement Tapes including the song where Bob …

OK, OK, OK.

I know those communities because in many respects I’m a paid up, card carrying, got the T Shirt and the embossed programme, member of those communities.

And, of course, if you’re reading The Immortal Jukebox then you are most definitely in with The In Crowd.

Dobie Gray is an In Crowd artist par excellence.

Covered by everyone from Ray Charles to Bruce Springsteen and revered by fans of Country, Soul, R & B and Pop Music (not to mention the fanatical devotees of Northern Soul) he recorded a series of classic songs in the 60s and 70s that will always launch the argument as to whether the original is really still the greatest.

Written by Barry Page and arranged by the brilliant Gene Page, ‘In Crowd’ was top 20 in the USA and top 30 in Britain in 1965.

I’m sure it was Gene who so artfully blended the brass flourishes and The just so backing vocals.

The tempo is just right for dancers – uptempo but not frantic with crescendos allowing for those so inclined to demonstrate their athleticism by spinning and pirouetting all the way to the fade out.

Dobie’s vocal has an Olympian, above it all, quality ideally suited to the song’s theme.

The thing about great Dance songs like this is that when you’re living inside one you dance with heightened senses and you really do make every minute and second count.

Dobie, born in 1940, came from a Texas sharecropping family with a Father who was a Baptist Minister. So, as for so many, the first songs he sang were Gospel standards.

But, of course, the radio beamed in R&B, Country and Pop and Dobie liked them all and found his warm vocal tones could easily cope with the demands of the different genres.

In the dawn of the 60s in Los Angles, in pursuit of a career in acting or singing, he hooked up with Sonny Bono (always an In Crowd Hombre) who got him his first recording contract.

By 1963 he had his first minor hit ‘Look at Me’.

The name Dobie came from the popular TV show, ‘The Many Lives of Dobie Gillis’ (there is much debate about Dobie’s original name but I’m going with Lawrence Darrow Brown).

Dobie wasn’t able to find a hit follow up despite some excellent recordings. Showing his versatility he switched to acting and was a cast member in, ‘Look Homeward, Angel’, ‘A Raisin in the Sun’ and had a two year run in the definitive 60s Musical, ‘Hair’.

Meanwhile, over in Britain, the son of a Northumbrian Coal Miner who looked after the Pit Ponies, Bryan Ferry, became an art student and connoisseur of black dance music.

I think it’s fair to say that Bryan most definitely set out to be in with The In Crowd and that few have had such a complete sucess in achieving their goal.

Flushed with the artistic, critical and commercial success of Roxy Music in his early solo records he revisited the records that had electrified his youth.

It’s not hard to see the attraction, ‘In Crowd’ had for Bryan.

His version had a crepuscular 1970s urgency signalled by the growling aggressive guitar with Bryan’s vocal walking the razors edge between witty reflection and self satisfaction.

Bryan, by now, knew all about those other guys striving to imitate him!

The final version I’m showcasing today comes courtesy of The Ramsey Lewis Trio and Nettie Gray. Nettie Grey? Well, as In Crowders know Nettie was the Washington DC waitress who played, ‘In Crowd’ for Ramsey on her coffee shop Jukebox suggesting that it might make a rousing set closer.

Sensibly, Ramsey took her advice and the live version cut at Bohemian Caverns became his biggest ever hit (top 5 Billboard).

I’m not going to say anything about this version beyond the fact that it always has me throwing a whole series of shapes that are most definitely not recommended by any osteopath or chiropractor but which afford me an enormous sense of well being

When his time in, ‘Hair’ concluded Dobie met the songwriting Brothers Paul and Mentor Williams.

It was Mentor who wrote and produced Dobie’s greatest record, ‘Drift Away’. I’m loath to call any record perfect but I’m making an exception here to prove the rule.

The incandescent warmth of Dobie’s vocal and the shimmering production really does sweep you away into an ambrosial reverie.

A song that is played on Pop, Soul and Country Stations every day and will do so as long as humans need to get that beat and drift away (which is to say until the day we turn into Replicants).

Drift Away was recorded in Nashville at Quadrafonic Studios in early 1973.

No praise can be too high for the team of musicans who lift Drift Away into the stratosphere.

David Briggs on Keyboards, Mike Leach on Bass, Kenny Malone on Drums and Reggie Young on Guitar were very much a Nashville A Team with extraordinary musical alertness and empathy.

I must mention the lovely, pellucid guitar figures played by Reggie Young for the intro and doubled up throughout the song. Now that’s a hook!

And, what about the wonderfully right and resonant sound Kenny Malone produces on a field marching drum!

Engineer Gene Eichelberger managed to balance all the elements so perfectly that you imagine all present exhaling a sigh of complete satisfaction when the track was played back in the studio.

Perfect, perfect, perfect!

The song, of course, sold more than a million copies as it became a top 5 hit and eternal radio staple.

Now, you can say all kinds of laudatory and derogatory things about Rod Stewart’s career but one thing everyone should agree on is that Rod is one hell of a judge of a good song.

So, it was almost inevitable that Rod would pick up on Drift Away and give it the full tartan scarves waving on the terraces treatment. And that’s
meant as a compliment – its rare that someone can be simultaneously part of the crowd and step out from it to lead it as Rod did so brilliantly in the 1970s).

After Drift Away Dobie continued to record quality material without troubling the charts. He earned favour in the music business through a productive songwriting partnership with Troy Seals.

George Jones, Ray Charles and Don Williams among others queued up to record their material .

Dobie died just before Christmas in 2011.

His songs will always last because rhythm and rhyme and harmony never go out of fashion.

Because, confused though we often are we will always seek solace in melodies that move us.

No one understands all the things they do.

But, one thing we do know.

One thing we do know.

Music can carry us through.

Carry us through.

Notes :

Dobie’s ‘Greatest Hits’ should be in every collection. I would draw your attention in particular to the dance classic, ‘Out on the Floor’ and his gorgeous version of, ‘Loving Arms’.

I have a special fondness for his album, ‘Soul Days’ produced by Norbert Putnam for its wonderfully relaxed and glowing treatment of soul standards like, ‘People Get Ready’.

There are a staggering number of versions of ‘Drift Away’.

My favourites are by The Neville Brothers and Tom Rush.

Happy Birthday Van Morrison! Checkin’ it Out (An Immortal Jukebox Van Fest)

There are guides and spirits all along the way who will befriend us’

Guides and Spirits. We all need them.

Pilgrims all, we need Way Markers reassuring us that there is indeed a Way and that we are not the first to have set off in this direction.

Guides and Spirits are all around.

You find those with whom you feel a certain sympathetic kinship.

You think, ‘Here’s someone who speaks to me.

Here’s someone who knows what they’re talking about.

Someone worth attending to’.

So, for me; Thomas Merton, Erich Fromm, Gerard Manley Hopkins, Seamus Heaney, Emily Dickinson, Anton Chekhov, Samuel Beckett, Russell Hoban and Buster Keaton.

In music Hank Williams, Howling Wolf, Nina Simone, Bob Dylan and .. Van Morrison.

One of Van’s ‘lesser songs’ but one which has always spoken to me.

Get into it like a meditation.

Taking it further.

Taking it further.

Further.

Van is tuned into the ‘Undersong’ all around us if we would but listen.

The Song of the Earth.

For Van this is first the undersong of his home place.

Belfast. East Belfast.

With the bewitching sounds of the Sea and the River.

The morning fog and the trees wet with Summer rain.

The bustle of the streets and the hushed quiet of The Avenue.

The salty tang of Belfast speech and the Mystery of voices coming through the ether.

At the same time he is tuned into the Music of the Spheres.

Music that’s always, always, all around us.

Van invites this music in and channels it for us.

On record and especially in performance he surrenders to this blessing.

Only a very rare artist can do this.

He’s a musical and spiritual voyageur opening up the territory for us to journey wherever we are brave enough to go.

I once met Russell Hoban at a book signing and said that I thought his words took us as far as words could go and then left us to explore the white space beyond.

He laughed and said, ‘Bon Voyage’.

It’s the same with Van.

His songs and his singing, incorporating the Undersong and the Music of the Spheres, act to flamingly make present the unnameable, the unsayable and the unknowable.

There’s a lot more Van to come on The Jukebox (while I toil over the, one day I’ll finish it, Book, Van Morrison : Dweller on the Threshold’).

So, on his Birthday, I offer my thanks for these gifts and wish him well in his further journeys.

I take this opportunity to present all The Jukebox posts featuring Van.

The Immortal Jukebox’s very own VanFest!

Catch up with those you may have missed and revisit those you read in the past.

It’s Too Late To Stop Now!

Brown Eyed Girl’.

An introduction telling the tale of my headlong plunge into obsession following my first hearing of Van’s best known song.

http://wp.me/p4pE0N-2L

Don’t Look Back’.

A meditation on Time featuring 2 astounding versions of John Lee Hooker’s tender Blues Ballad. One a reaching for the stars take of a teenager the second the work of a fully realised master musician.

http://wp.me/p4pE0N-3k

Carrickfergus‘.

A meditation on family, friendship and loss. How the shadows lengthen! Sung with infinite tenderness and bardic authority.

http://wp.me/p4pE0N-7J

In The Days Before Rock ‘n’ Roll’.

A miraculous meditation on the persistence of memory, the power of the radio and the post war world as seen by a young Irish mystic.

http://wp.me/p4pE0N-bi

Tupelo Honey’.

A rhapsodic meditation on the nurturing, redemptive power of Love. A Hallelujah!

http://wp.me/p4pE0N-fr

All in the Game‘.

A meditation on the carousel we all ride. It’s been sung by many singers but never like this!

http://wp.me/p4pE0N-jY

Domino’ .

A Founding Father joyously celebrated by a Master from the next generation.

http://wp.me/p4pE0N-pH

Sometimes We Cry‘.

Bringing it all back home to singing on the street corner Days. The sweetness of Doo-Wop seasoned with wry maturity.

http://wp.me/p4pE0N-sf

I Cover the Waterfront’.

Van and John Lee Hooker, Blues Brothers and Soul Friends, conjure up ancient tides.

http://wp.me/p4pE0N-tq

Buona Sera Signorina‘.

Van puts his party hat on and romps through the Louis Prima classic.

http://wp.me/p4pE0N-Xg

Hey Girl’.

Van takes a stroll along the strand and suspends Time.

http://wp.me/p4pE0N-1cA

Gloria! Gloria!’

Once, Now and Ever.

http://wp.me/p4pE0N-1dh

Happy Birthday Van!

A Jolly Holiday .. Louis Armstrong .. Bibbidi Bobbidi Boo!

It’s that time of the year again.

Time for a Jolly Holiday.

Time to gather the family, rev up the family car (The Roadster safely tucked up in the garage) and set off to the far, far West.

Finisterre as it were.

The Atlantic Ocean thrashing and murmuring through the hours according to the dictates of the distant Moon.

The last rays of the Sun over the land.

Suitcases stowed along with :

Surfboards, Wetsuits, Kites (Kites are skittish things), Quoits, Cricket Bats and Compendium of Games (can I retain my title as supreme draughts/checkers champion?).

Laptops, IPods, IPads, Cameras, Tripods, assorted chargers and batteries.

For me three books guaranteed to please whatever the weather.

To make me laugh out loud P. G. Wodehouse :

‘It’s no use telling me there are good aunts and bad aunts. At the core, they are all alike. Sooner or later, out pops the cloven hoof.’

To inspire me, ‘Stepping Stones’ – conversations between Seamus Heaney and Dennis O’Driscoll illuminating the great Poet’s dedication to his vocation :

‘If you have the words, there’s always a chance you’ll find the way’.

To utterly sweep me away, ‘Moby Dick’ :

‘Yes, as everyone knows, meditation and water are wedded forever.’

Obviously, a selection of music to suit all our ages, all times of the day and night and all our humours.

As we drive down we check off the Way stages of our journey laughing as we recount previous adventures.

Old memories celebrated. New memories minted.

And, there’s always one song that elects itself our Summer Song.

A mysterious process but agreement on the chosen song is always by acclamation and lusty choral sing song.

So I am pleased to open the envelope and announce to a breathless world that this years song is the fantastic, frolicsome, ‘Bibbidi, Bobbidi, Boo!’ by the one, the only, Louis Armstrong!

Take it away Satch!

Well, I have to say I can’t think of another song by another singer more guaranteed to have a family laugh out loud with delirious pleasure!

Louis Armstrong was a certified musical genius.

But, he was also a man who radiated warmth and bonhomie.

I only have to imagine his face or listen to the echo of his unique tones to feel that life is a very fine enterprise.

I wholly agree with Tony Bennett – ‘The bottom line of any country is, What did we contribute to the World. We (the USA) contributed Louis Armstrong.’

Now, I’m aware many of you are not on Holiday.

No, you’re straining at the coal face or the chalk face or the work station counting down the hours.

There are, I am told, many fine books on mindfulness and mediatation that might help you in such circumstances.

Yet, I have never found a better way to lift my mood than to call up Louis Armstrong in my mind and sing, sing, sing,

Bibbidi, Bobbidi, Boo! Bibbidi, Bobbidi, Boo!

Happy Holidays.

Nick Lowe, Johnny Rivers, Arlen Roth : Poor Side of Town

Once upon a time.

Long, long ago.

Far, far away.

There was a place; a place you can almost remember in your dreams.

A place, let’s call it a garden or an enchanted meadow, where the Sun shone brightly every day and gentle breezes played among the whispering trees.

Everyone knew everyone and everyone was safe and content.

But, but, one day, one fateful day, Humankind thought that being safe and content and warm everyday wasn’t quite enough.

It was the, ‘Everyone’ that was the killer.

For, Humankind craved particular pleasure.

Particular knowledge.

People and places and things that are mine and mine alone.

Individual consciousness.

Personal. personal, personal.

And so it began. And, so it goes on.

For, along with all these particular, personal possessions and holdings came, carrying poisonous venom, Lust and Greed, Envy and Pride, Wrath and Sloth and Gluttony.

But, but, so did Charity and Chastity, Diligence and Temperance, Kindness, Humility and Forgiveness.

There would, in particular be much need of Forgiveness.

In this new world musician and storytellers found that the glory and the folly of their fellows made for endless material for compositions.

Most songs and most stories are, in the end, about the sharp pain and the ecstatic joys of finding love, the loss of love, the theft of love and the betrayal of love.

So, here’s one of those stories.

Lust is here. And Envy. And Pride.

And, so too is, maybe, some humility and some forgiveness.

So, everything you need for a hit song!

And, a mighty Number One hit is exactly what Johnny Rivers and his supporting team of crack musicians and backup vocalists provided in 1966 with, ‘Poor Side of Town’.

Johnny RIvers was an established hit maker marrying the sound of 50s Rock ‘n’ Roll with folky elements on sides like, ‘Memphis’, ‘Mountain of Love’, ‘Midnight Special’ and, ‘Secret Agent Man’.

What distinguished Johnny Rivers records was their sense of easy flow that invites the listener to sing and dance along. It’s why he was such a legendarily popular live draw at the Whisky a Go Go Club.

Johnny Rivers is a guy it’s very easy to like.

Poor Side of Town was a very important record for Johnny because he had written it himself and because it introduced a more reflective balladerring element to his style.

The song wonderfully melds aspects of breezy Californian Pop with tinges of a more troubled Southern Soul ballad.

So, the superb piano of Larry Knechtel, bass of Joe Osborn and drums by the ubiquitous Hal Blane added to Johnny’s subtle guitar make for a tale that offers both sunshine and shadow.

To top it all off Darlene Love, Fanita James and Jean King (The Blossoms) provide a choral element that ravished the ear.

Arranger Marty Paich made sure it all came together as a premium blend.

And the story?

Well Rich Girl, Poor Boy and a spiral from ecstacy to tragedy is a tale that will be told for ever and a day.

I think particularly of the film, ‘A Place in the Sun’ starring the most eye scorchingly beautiful couple in the history of the cinema (now there’s a claim) Elizabeth Taylor and Montgomery Clift.

Sometimes a young woman can be so bewitchingly, breathtakingly beautiful that a young man, poor as he may be, will, must, cross any line, risk any risk, to be with her, to have her smile that brighter than the Sun smile and say, ‘Do I make you nervous?’

Oh, oh, oh, she sure does make you nervous!

And she sees something gorgeous and vulnerable in him that the Preppy Princes picked out for her by Mom and Dad just can’t compete with.

So, though they know in their bones that this won’t end well they soon find themselves skin to skin in Sugartown.

Until, the fates (always hovering in the wings) intervene and the seconds count down to death in the Chair with the clock on the wall dissolving into her heartbreaking visage.

Welcome back to the Poor Side of Town!

Now over here in Britain Johnny Rivers wasn’t very well known and he didn’t figure in the Chart Shows nor was he hip enough to feature on the ‘Progressive’ end of the spectrum.

So, a confession. I didn’t hear the original of Poor Side of Town for many years after I had become aware of it through the version by Telecaster Master Arlen Roth.

I had noticed his name appearing in the credits on premium recordings and so swooped when his debut solo disc appeared in a bargain bin at HMV Records (and I was a deep diver into those bins!).

There’s a lovely hypnotic sway to this take on the song and the guitar has a dead on certainty that only the very best players ever achieve.

To sign off a version from a tenured Professor of songwriting Mr Nick Lowe! (pictured above).

A further confession.

I own every record Nick has ever made and have seen him play on countless occasions through our joint misspent youths.

Seeing him now – a mature artist fully in command of his talent – is greatly cheering.

It seems that Nick now strives, successfully, to make records that appear effortless; concealing the infinite pains involved in achieving such an effect.

The musical empathy between Nick, Jukebox favourite Geraint Watkins (keyboards), Robert Traherne (drums) and Steve Donnelly (guitar) gives a regretful emotional depth to the story so that you feel like exhaling deeply at the end and wiping a tear from your eye.

Oh what tangled webs we weave.

Rich girls and Poor Boys.

Hoping against hope that, this time, the story will have a happy ending.

And don’t think that the dramatic leads in this story will ever listen to your sage advice to think and think again.

No. Some stories have to be played out again and again and again.

Towns and hearts will always be divided and few ever move, for good, willingly to The Poor Side of Town.

Yet, yet, there will always be those who believe that they can defy fate and the odds and strange as it may seem sometimes miracles do happen.

Welcome back Baby to The Poor Side of Town.

Van Morrison : GLORIA! GLORIA! GLORIA! GLORIA!

Let’s remind ourselves what’s A1 on The Immortal Jukebox and why!

Some songs have a brutally simple primal perfection.

Usually these songs are recorded at the very beginning of an artists career before they start to look into the rear view mirror and become conscious that they do indeed have a career, a legacy and a reputation to protect.

These are records that come at you full bore and demand you listen now!

Think of the primitive perfection of the last song recorded on the day the Beatles recorded their first LP.

You want to know what The Beatles sounded like in Hamburg? Listen to the raw bleeding magnificence of John Lennon’s vocal on, ‘Twist and Shout’ and the eyeballs out commitment of Paul, George and Ringo.

There was no way a second take could top that!

Think of the stupid beauty of the Undertones debut single, ‘Teenage Kicks’ – a record that captured as few others have the thrilling intoxication of young love and lust.

Feargal Sharkey’s impassioned vocal (All right!) and the unrepeatable delirium of Damian O’ Neill’s guitar solo combine to create a miracle that comes up fresh every time and is endlessly replayable – which seems a pretty good definition of what I want from a jukebox single.

And then there’s the Daddy of all primal utterances on 45 – Gloria by Van Morrison during his days with Them.

It is a truth universally acknowledged that throughout the 1960s that wherever and whenever a group of would be rock and roll stars gathered – in the family garage, in the basement or at a flea bitten church or municipal hall – very soon after they had plugged in they would launch, with wildly varying degrees of competence, into their own version of, ‘Gloria’.

Puzzled passers-by must have wondered why such a simple name needed to be spelled out with such repetitive intensity.

‘And her name is G – L – O – R – I – A, Gloria!’.

They must also have shuddered at the threat:

‘ I’m gonna shout it out night and day .. G – L – O – R – I – A! G – L – O – R – I – A, Gloria!’.

It is likely that many of the groups who attacked the song made a fair fist of the instrumental ground of the song – three chords don’t take long to master.

A few of the lead guitar players will have matched Jimmy Pages fluency and prowess as demonstrated on the recording.

However, No-one, No-one, will have come anywhere near reproducing the frenzied intensity of Van Morrison’s pyrotechnic vocal.

This Van Morrison was not the superlative song stylist or the Celtic soul and blues master he would later become.

This was a snarling, desperate, bewildered teenager who was reluctantly coming to terms with life and lust. The whole painful mess of it all.

A youth who looked down more than he looked up but who was nevertheless able to surprise himself with the ability to express vocally the gamut of emotions and frustrations he faced every day and every night.

But, from the very get-go in his career there was no doubt about who was leading and commanding the band.

Van Morrison on the bandstand or in the studio acts as an emperor, a ruler by right of his eminent majesty as a singer and as a band leader. In this, as so much else, he took his cue from the high priest of soul – Ray Charles.

Gloria is a work of explosive youth, of wanting and yearning, of overwhelming mind and body dominating lust.

Gloria may be the most purely male, testosterone fueled record ever made.

Gloria, five feet four from her head to the ground, is the eternal lust object. Van Morrison might say that she knocks upon his door and even more thrillingly comes to his room but the thrust of the song seems to me to be the solitary, devoutly told repetition of an oft returned to fantasy.

There may well have been a real Gloria but it is the dream of Gloria who knocks on Van’s door with such insistent force. Surely, if he could only chant her name with enough power she would indeed knock upon his door and make all his fevered dreams come true:

G – L – O – R – I A !! G- L- O- R – I – A

The musical drive of Gloria is the relentless beat, beat, beat of male desire in all it’s sullen and obsessive purity. Gloria is the incarnation on vinyl of the desperate teenage male imperative to be adultly carnal – its a boy desperately wanting, needing, to be a man.

Gloria has more tension than release – much like all young lives. This is no doubt why it appealed so powerfully to beat group boys all over the world.

Van snarls his way through the lyric with his uniquely salty Belfast tones alternately pressing and holding back – he already had a grasp of dynamics within song arrangement born of years of listening to Ray, John Lee and Leadbelly on the street where he was born.

Gloria is also as every listener who’s ever heard it knows one hell of a rush!

It comes roaring out of the speakers and before you have time to catch your breath you are carried along on its tidal wave of rhythmic power.

Two minutes and thirty-eight seconds later you will be nearly as elatedly exhausted as Van Morrison himself.

Take a breath or two and maybe down a shot of Bushmills – then press A1 again – you know you want to.

Notes & Comments:

Gloria was recorded on April 5 1964 at Decca’s Studio in West Hampstead, London and released as the B side of Baby Please Don’t Go on July 6th.

Them members Billy Harrison (guitar), Alan Henderson RIP (bass), Ronnie MIllings (drums) and Patrick McCauley (keyboards) were present in the studio when Gloria was recorded and all probably contributed to the single.

Also present were key members of London’s top session musicians of the time. Jimmy Page surely played the lead guitar and Bobby Graham (who would later play the on the equally epochal ‘You really got me’, must have played the drums).

Arthur Greenslade probably played the organ.

There have been numerous cover versions. The most commercially successful being that by The Shadows of Knight which made No 10 in the US charts at the end of 1966.

The most artistically successful is Patti Smith’s reinvention of the song on her amazing debut LP ‘Horses’ in 1975.