Jukebox Jive with Garland Jeffreys : Getting The Story Through

 

I’m delighted today to launch a new Feature, ‘Jukebox Jive with …’.

The aim is to provide an insight into the social and musical roots of artists close to the heart of The Jukebox.

It is a special pleasure that we begin with Garland Jeffreys for I have been an avid fan of his work for over 40 years!

Garland generously spared an hour of his time for a telephone interview with me to discuss his influences, his mentors and contemporaries and the records he most cherishes from his own catalogue.

Delightfully he also frequently broke into song down the line from New York to illustrate his answers.

 

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Garland is a singer, songwriter and performer of immense talent.

Someone who was best friends with Lou Reed and regularly called up on stage by Bruce Springsteen.

People, ‘In the Know’ know what a great artist Garland is!

He has written dozens of haunting songs which provide searching insights into what it is to live an engaged modern life.

Drawing on the traditions of Jazz, Blues, Rhythm and Blues, Doo-Wop, Reggae and Soul his work shines a forensic light onto the issues of The Working Life, Race and Class, Love and Sex in post World War 2 America as refelected in the Nation’s premier City – New York.

Garland was born in June 1943 and grew up in Brooklyn’s Sheepshead Bay. His heritage was a mixture of Black, White and Puerto Rican – not forgetting a trace of Cherokee!

It’s undoubtedly the case that such a complex heritage gave Garland an outsider status – too black to be white, too white to be black.

While this provided a series of challenging scenarios in his youth it had the artistic advantage of making him a sharp and subtle observer of the world around him.

His parents were hard working people who instilled in him a love of music and pride in doing a job well.

Perhaps it’s better at this point to allow Garland to tell you himself; through his wonderfully warm and affectionate memoir song, ‘14 Steps To Harlem’ what it was like growing up in the 50s and 60s in such a household.

 

 

IJ – Who was the Artist who called your own voice (as Bob Dylan’s was called by Woody Guthrie)?

GJ :

Well, I grew up in a house filled with music.

My Mother loved Duke Ellington, Dinah Washington and Frank Sinatra.

I loved those and discovered for myself someone as great as Nina Simone who I used to see perform at The Village Gate.

All this stood me in very good stead later when I shared a stage with Jazz Giants like Sonny Rollins and Carmen McRae – you should have heard our duet on, ‘Teach Me Tonight’ (Garland croons … should the teacher stand so near, my love)

There’s a depth in Jazz I’m mining to this day.

I always could sing so naturally I sang along to the radio – those fabulous R&B, Doo-Wop and Rock ‘n’ Roll songs saturated the New York air.

If I have to pick one I’ll go for Frankie Lymon – he was a hell of a singer and he was my size!

Frankie could really sing and not just the uptemp hits everyone remembers but also heart rending ballads like, ‘Share’.

Frankie sang songs filled with energy and sweetness and you knew he was talking about the real life lived out on the New York Streets.

A record I just couldn’t stop playing?,,,

Well I’d have to say Frankie Lymon (don’t forget The Teenagers) with, ‘I’m Not a Juvenile Delinquent’.

 

 

IJ – Was there a Radio Station/Radio Show that was important in introducing you to the Music you love?

GJ :

We all listened to WINS and especially to Alan Freed’s Moondog Show.

I loved the Sports coverage on WINS too.

I was a true Brooklyn Dodgers fan – proud to say I was there in 1947 when Jackie Robinson played his first Major League game at Ebbets Field!

Later on I used to go to see broadcasting legend Bob Fass at the WBAI Studios

I went there a few times with the great Bass Player, Richard Davis, who played on my own records as well as being the instrumental star of Van Morrison’s Astral Weeks.

Richard was a great musician but a humble man.

He was something of a mentor for me as was Paul Griffin (who played Piano on Dylan’s Like A Rolling Stone among many other classic recordings).

Of course, I was close with Lou Reed from our days at Syracuse University – boy were we the odd couple!

IJ : What was the first record made by one of your contemporaries that made you think – Wow they’ve really got it!

GJ :

Oh, Yeh … Bob Dylan’s ‘Don’t Think Twice It’s Alright’.

I’m a couple of years younger than Bob Dylan.

I used to go to and play at New York Folk Clubs like The Gaslight and Gerde’s.

I saw him then. He has always been a fascinating character.

Managing to be a fantastic self promoter without obviously being one.

He had a unique style and his songs just made sense of the times we were living in.

He wasn’t afraid to be challenging politically and in personal relationships.

 

 

IJ : Which of your own Records was the first to turn out exactly how you wanted it to?

GJ :

I’d have to say that would be, ‘Ghost Writer’ from 1977.

That was an inspired record – the whole album where everything came together. The songs, my singing and the musicians I played with all playing at a peak.

Songs like, ‘Cool Down Boy’, ‘Why – O’ and, ‘Spanish Town’ said something then and they still do.

Dr John’s on there and David Spinoza.

Hugh McCracken who played Guitar and Harmonica deserves a lot of credit.

Sadly he died 5 years ago now – that’s the way when you’ve been in the music world as long as I have.

Ghost Writer as an individual song tells my story.

A New York City Son trying to make my way while having fun.

Someone who knows about tradition in Literature – Shakespeare, Spencer and Sydney and who knows that there’s a poetry in the streets that demands to be expressed.

I agree with you that Ghost Writer is a, ‘Blue Hour’ song – a vision that comes from the ghosts whispering in that hour that’s the last of the night or the first of the morning.

I also love that Dub Reggae feel we got down.

 

 

IJ – What other albums make up your top 3?

GJ :

‘Escape Artist’ from 1981 and, ‘The King of In Between’ from 2011.

As to individual songs I would have to go for, ‘Wild in the Streets’ which was a breakthrough song for me and something of a New York City Anthem.

It’s a Song every audience expects me to play and I make sure not to disappoint them.

I still love it – I make sure to play it straight just like I recorded it.

From more recent times I’m proud of  ‘Coney Island Winter’ which says a lot about modern America and stands up for people who need to be stood up for.

Garland started that menacing whispered intro…

This is a classic.

A Song alive, vibrating, with the energy of the Streets.

An energy that can be exhilarating  but which can also be threatening and at times even fatal.

It’s a song that has the beat, beat, beat of the summer sun and of hot young blood.

A song to be sung on the stoops and the fire escapes and on the baking roofs.

 

Garland was nearly 70 when he made one of his very best albums, ‘The King of In Between’.

What’s almost miraculous about this record is that it has the energy and rage of youth combined with the craft and wisdom of maturity.

‘Coney Island WInter’ has the unstoppable power of a Locomotive yet has a profound tenderness towards those left behind by a cruel and heedless system.

It’s a story that happens every day that only a rare storyteller could make come so thrilling alive.

 

IJ – What was your greatest ever Live Show?

GJ :

A show that really stands out for me was one from The Ritz in NYC with The Rumour backing me up.

Those English guys can really play! (the partnership is brilliantly captured on the Rock ‘n ‘Roll Adult CD)

IJ – What Song by another Artist do you wish you had written?

GJ :

For it’s simplicity, its power and its endless playability I would have to say, ‘Gloria’ by Van Morrison in his days with Them.

A Million Garage Bands can’t be wrong!

IJ – Who’s an under rated Artist we ought to look out for?

GJ :

Garland Jeffreys ! (Seconded! The Immortal Jukebox)

IJ – Nominate a Song – one of your own or by someone else to take up the A100 slot on The Immortal Jukebox.

GJ :

Garland Jeffreys – ‘Ghost Writer’.

IJ – Anything you’d like to add?

GJ :

Sure – I’d like to say that I’m forever grateful to all my fans and supoorters. I’ve spent my life trying to make the very best music I can and that’s what I’m always going to do.

Oh ..and if you’re starting out as a musician I’d advise you to protect your copyrights!

Start  your own record company. Of course the main thing you’ve got to do is love the music, the writing and the performing.

Wise words. Wise words.

New York has had many great chroniclers.

For my money Garland deserves his place among them.

His songs have an urban strength and urgency tempered by empathy for the outsiders and also-rans so often unblinkingly passed by.

Songs can be so many things.

For me Garland’s songs have been lifeboats when the tempest raged, lamps to light the way to a safer shore and ladders to climb up to the Stars.

What moves me most is the sense that I am witnessing a unique voice and vision telling me hard won truths.

Jackie Robinson said that the most luxurious possession, the richest treasure anyone can have is their dignity.

Garland has assuredly joined Jackie in that All Star Dugout.

Today, June 29, is Garland’s Birthday.

Happy Birthday Garland – may your Songs always be sung.

 

Notes :

Many thanks to Claire Jeffreys for setting up the Interview.

Thanks too to Mick Tarrant for the introduction.

A Garland Jeffrey’s Playlist :

In addition to the tracks above I regularly play

‘I May Not Be Your Kind’

‘One-Eyed Jack’

‘Matador’

‘Jump Jump’

‘Miami Beach’

‘Don’t Call Me Buckwheat’

‘Hail Hail Rock ‘n’ Roll’

‘I Was Afraid of Malcolm’

”Til John Lee Hooker Calls Me’

‘Roller Coaster Town’

That would make a hell of a mix CD!

 

Willy Deville : Rebirth in New Orleans – Beating Like a Tom Tom

If you can’t find your way follow The River.

The River.

The Mississippi River.

More than two thousand miles all the way.

Well it winds through Bemidji, St Cloud and Anoka.

St Paul, Redwing and Pepin.

On through Minneiska, La Crosse and Potosi.

Lansing, Prarie Du Chien and Galena (hats off to U S Grant)

Sabula, Moline and Oquawka.

Right by Keokuk, Kaskaskia and Hannibal (hats off to Sam Clemens)

Thebes, Cairo and Osceola.

Memphis, Greenville and Helena (hats off to Levon)

Vicksburg, Natchez and Baton Rouge.

That’s how you find your way to the Crescent City.

As it flows The River is always picking up freight.

Flotsam and Jetsom.

Ramblers, Rebels and Gamblers.

No account Losers and Aces up the sleeve sure fire Winners.

As it flows it gathers up and gathers in tall tales and stories, myths and legends, bawdy jokes, rhymes and half rhymes, drunken vows and whispered poems.

As  it flows it gathers up and gathers in melodies and rhythms and lyrics and binds them into Songs.

In a small studio in the Crescent City musicians meet and greet each other.

No ones a stranger.

They all been breathing the same air for years and years.

They know who’s good and just how good they are.

Everyone knows Fats and Dave and ‘Fess.

Mac and Earl and Plas.

Alan and Cyril and Zigaboo

The Studio don’t give them a whole lot of time but they don’t need it.

Count off … let’s roll!

We respect a real song.

More we revere them.

Let the years decide which ones get remembered.

Somewhere out there – maybe thousands of miles Up River someone will respect and revere these songs like we do.

The music gets caught on tape and they press up the vinyl.

The guys on the radio play it when they alloŵed.

In the Roadhouses and Honky Tonks the button is pressed on The Jukebox and the song blooms in the night air.

We got another one to cut now.

A true message always gets through.

Decades later a Singer sweats through another night with the monkey on his back.

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The Dreams take him back to sweet days of youth but they don’t linger there.

No, there’s jeering Demons in the hours before the Dawn and they don’t always fade away in the light.

Always. Always The Songs.

He’s made a lot of mistakes in his life.

A lot.

But, he’s always respected and revered the true songs.

The ones with heart and soul.

The ones that keep turning up in your dreams.

The ones heard on the radio and played on the Jukebox when he was starting out.

The ones you know it ain’t so easy to sing unless you can really sing.

Songs that play in your head sometimes at 33rpm, sometimes at 45, sometimes at 78- depending on what and how much medicine has been taken.

In the roaring traffics boom.

In the silence of a lonely room.

Beating. Beating. Beating.

Big blue diamonds instead of a band of gold.

Oh, I’ve been a fool my dear – a fool by heart.

Beating. Beating. Beating.

I’m loaded out of my mind.

Loaded out of my mind.

Beating. Beating. Beating.

I’ve played the game of love and lost.

Lost.

All through the night all I do is weep.

Tossing and Turning.

Tossing and Turning.

You on my mind.

You hold me and won’t let go.

Hold me and won’t let go.

The beating of my heart.

Beating. Beating. Beating.

Beating like a Tom Tom.

Beating like a Tom Tom.

Now, I know, I know, I’m so defiled in this world I’ve made.

Maybe my own Mother and Father would abandon me.

Maybe they’d be right.

Yet, maybe there’s still a power that could gather me up.

A power that would gather me up.

But, I gonna have to move to find it.

Kind of a pilgrimage.

The River – I’ll follow The River all the way.

All the way.

Got to find my way Down River.

Down River where the Songs come from.

All the way Down to the Crescent City.

Find me those guys who can really play.

They all know each other.

I need the place and their time.

The time and the place.

I need to believe again.

To believe.

Theyll know straight away if I can really Sing.

Gonna ask ‘em to play, ‘Beating Like A Tom Tom’

My heart been beating to that for a long time.

A long time.

Let’s see what kind of Mojo I can show them.

Count it off…

Freddie … make that guitar real pretty ….

‘ … Tossin’ and I’m turnin’ all in my sleep ….’

 

All Right!

Now do you believe?

Got some storefront gospel in there too by God.

I think we did right by old Ernie there guys!

Now Ernie K Doe is one thing but Little Willie John is sure another.

Ain’t a singer alive who heard Willie who didn’t get The Fever.

Willie lived inside the song.

Held it up to the light so it glowed in your mind.

Lodged deeper than a bullet in your heart.

Remember, ‘Big Blue Diamond’?

‘Blue diamonds, big blue diamonds on her finger
Instead of a little band of gold
Big diamonds, big blue diamonds tell the story
Of the love that no one man could hold’.

You got to feel that ache.

The ache for the love behind that band of gold.

The ache.

Count it off ….

 

Yeh … that’ll do it.

Lonesome in the moonlight.

Lonesome in the moonlight.

We all been there.

Looking up with a broken heart.

I was trying to sing it for Willie John in prison looking up at the moon.

Hey Mac what about that one of Alan’s about being a fool by heart?

Ah … Hello My Lover – that’s it.

‘I’ve been a fool, my dear, a fool by heart
But I’m done up in my mind

Oh … I’m gonna try my best to do what is right
I’m gonna be with you, yes I will, both day and night …’

Let’s see if we can get a second line feel here  – raise everybody up.

Gonna dance my way through this one Mac.

When this one comes on everybody gonna dance.

Count it off …

 

Ain’t no hiding why I come down here.

Don’t need to tell you guys what that Junk will do to you.

If I ain’t got as right to sing that Junker Blues – who has?

Here’s one for you Champion Jack!

We all craving for something to make the dawn easier to face.

No messing ..gonna sing this one straight … tell the story.

It’s all about the tempo.

Count it off …

‘Some people call me a Junker ….’

 

Well, ain’t that the best damn feeling!

Got to take these songs out on the road guys.

Take it to the people and show them a new side of me.

Get that Tom Tom Beating.

Get that Tom Tom Beating.

‘ … Tossin’ and I’m turnin’ all in my sleep ….’

 

 

Notes :

Willy Deville in search of musical and spiritual nourishment and respite from being, ‘Willy Deville’ in New York moved to New Orleans in 1989.

Hooking up with Carlo Ditta who owned Orleans Records they conceived the idea of a, ‘Little Record’ that would celebrate Crescent City classics whether they were hits outside New Orleans or not.

A stellar Band was assembled and the resulting record, ‘Victory Mixture’ shows a great singer mining depth after depth from these songs.

The success of the enterprise led to live shows captured on, ‘Big Easy Fantasy’.

Willy Deville could really sing and singing these songs brought out the very best in him.

Listening to him here it’s hard to imagine anyone ever singing these songs better.

P.S. Special thanks to Harvey G Cohen for reminding me of Willy’s New Orleans recordings.

I highly recommend Harvey’s book on Duke Ellington.

He can be found on Twitter @CultrHack.

P.P.S.

bienvenido a la máquina de discos a todos mis lectores en México

 

 

Rolling Stones : The Joint was Rocking – Going Around and Around (Memories of Eel Pie Island )

‘Eel Pie Island was a big hang-out for me, an ancient damp ballroom stuck in the middle of the River Thames reached by a rickety wooden footbridge. But you felt that you were heading somewhere truly exotic.

It was the place where I began to understand the power of Rhythm & Blues.’ (Rod Stewart)

Last week was a big week.

My daughter started at University.

I drove her there with a knotted stomach – hoping, praying, that these next years would be all that she hoped – the time of her life.

On the way I ceded control of the CD Player – she’s not exactly a fan of the usual fare I play – Howling Wolf, Jimmy Reed, Arthur Alexander.

First up was an Elton John compilation.

‘Crocodile Rock’ blasted out and suddenly these lines really hit home :

’I never had me a better time and I guess I never will’.

Proust had his Madeleine – I have Music.

As soon as I heard those lines I was beamed back there.

To The Island.

Eel Pie Island to give it its full cartographical title.

But, for us .. a raggle taggle band of would be anarchists and bohemians (in reality grammar school boys and girls, art school students and other assorted refugees from the ‘straight world’) it was always just The Island.

The Island.

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Spring and Summer of 1963.

The Time of My Life.

Crossing The River in the Moonlight by the Footbridge.

Crossing to a mysterious land where magic scenes and sounds were all around.

Arthur Chisnall’s Magic Kingdom where Music and Ideas and glorious youthful exuberance and madness reigned, unrestrained.

Blues, Ban The Bomb, Ginsberg, Kerouac, Pop Art …

Queueing up to get my hand stamped by Stan- usually with the name of an obscure African Country.

Clutching my Island Passport :

‘We request and require, in the name of His Excellency Prince Pan, all those whom it may concern to give the bearer of this passport any assistance he/she may require in his/her lawful business of jiving and generally cutting a rug.’

Drinking as much Newcastle Brown Ale as my belly could hold.

Escaping gravity as the sprung Ballroom floor of The Island Hotel see sawed up and down as we danced to Cyril Davies’ All Stars, The Tridents (with Jeff Beck), John Mayall’s Blues Breakers (with Eric Clapton) and Long John Baldry’s Hoochie Coochie Men (with Rod Stewart).

Trying, desperately, to impress the impossibly glamorous girls in their sixties finery.

Someone said later that on The Island you could feel sex rising from The Island like steam from a kettle.

I certainly got burned.

I loved all those Bands – and The Artwoods and The Yardbirds and Georgie Fame’s Blue Flames.

But, But, from the first time I saw them, April 24th 1963, there was only one Band which commanded my total allegiance – The Rolling Stones.

Bear in mind they hadn’t yet made any records.

These Rolling Stones could be found, honing their chops, at The Station Hotel in Richmond or The Crawdaddy.

You might come across Keith or Mick or Brian shopping for Blues and R & B obscurities at Gerry Potter’s Record Shop on Richmond Hill.

These were The Rolling Stones before the legend.

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Before the national and international tours.

Before the Record Contract and the TV Shows.

These Rolling Stones were our secret.

Our Band.

And, Long before it became a slogan I was telling anyone who would listen (of course, there were precious few of those) that Mick Jagger, Keith Richards, Brian Jones, Bill Wyman and Charlie Watts (not forgetting Stu) were not only the greatest R&B and Rock ‘n’ Roll Band in The Thames Delta but very possibly, very probably, Hell … 100% for certain the finest in the entire world!

I knew that because I saw them play two dozen times on The Island between April and the end of September 1963.

Two dozen times I felt their growing power as a unit.

Their ability to play hot and cool at the same time.

Their ability to Roll and and Sway as well as Rock.

Their ability to lock into the Rhythm and ease into The Blues.

Their ability to get the joint absolutely rocking – Going Around and Around.

I knew because as soon as they hit the first note of Route 66 the floor became a trampoline!

 

 

Now, anyone could see that going on stage in front of an audience put 50,000 Watts of energy through Mick Jagger.

Energy he learned to control and channel – to light like a fuse to send that audience into blissful explosion.

Bill Wyman didn’t move much but his Bass held that energy in tension.

Brian Jones looked great and added the instrumental flourishes.

Charlie Watts and Keith Richards were the masters of Rhythm – born to play this Music.

Together they found gears unknown to their contemporaries.

And, they knew that you can’t exhaust your audience (and yourselves) by playing flat out all night long.

You have to be able to take the tempo down and cast a romantic spell.

You have to learn from the great Arthur Alexander about playing and pacing an R & B Ballad.

 

 

Through and with The Rolling Stones we became R&B and Blues afficianados.

We knew that there was a deep knowing in the seeming simplistic works of Jimmy Reed.

A deep knowing that most Bands either didn’t recognise or couldn’t find within themselves  when they took on a Jimmy Reed tune.

The Rolling Stones knew.

And, listening to them we could feel in our guts that they knew.

 

 

One night they played a song I didn’t recognise.

Turned out it was one that Mick and Keith wrote together.

I thought – if they get the hang of writing given how great they are as a live band they might be able to expand their reach far beyond the Bluesniks like me.

Who knows?

They might even end up being damn near enough as big as The Beatles!

 

Somethings you never forget.

Never.

24 nights on The Island.

The place was packed.

Reeling and Rocking.

Sounds that sent us divinely crazy.

Reeling and Rocking until the Moon went down.

Ah … ah … that Joint was Rocking.

And so were we.

Reeling and Rocking through the Time of Our Lives.

On The Island.

Going Around and Around.

 

 

When I got back Home from dropping my Daughter off I looked through my old files and found this.

The Rolling Stones Ad

I laughed and took down my vinyl copies of The Rolling Stones debut LP and their first two  EPs and played them as loud as my system would allow.

I tell you my Joint was really Rocking.

Notes :

There’s an excellent Book on Eel Pie Island by Dan Van der Vat and Michele Whitby.

I also recommend the Oral History edited by JC Wheatley – ‘British Beat Explosion – Rock ‘n’ Roll Island’

There are 2 worthwhile DVDs – ‘Clinging To A Mudflat’ and, ‘Eel Pie and Blues’

A search of YouTube will yield other fascinating clips.

Emmylou Harris, Chet Atkins & The Chordettes : Mr Sandman

Lately, it seems that whenever I open a Newspaper or Magazine there’s a sober article warning that there is a, ‘Sleep Crisis’ which is increasingly manifested in physical and mental ill health.

People, working all hours and glued to glowing digital devices into the wee hours just aren’t getting enough shuteye!

I read such Jeremiads with much personal puzzlement.

I have never had any problem in sleeping 8 hours or more every night.

Some people have asked me how do I manage this?

Well, my infallible technique is to lie down on a reasonably flat surface and close my eyes!

Sleep follows within a minute – so long as there isn’t prolonged gunfire or searchlights trained directly at me I’m off in a trice.

Drinking alcohol or coffee doesn’t make any difference either.

When it’s time to sleep – I sleep.

Learning of how unusual this appears to be I am grateful for my good fortune.

I tip my hat to The Sandman.

 

Of course, on The Jukebox, I’ll do far more than that.

I’ll serenade him in jubilant song.

Let’s start with the charming, chiming, circle of fifths, Chordettes from 1954.

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Pat Ballard wrote the song and a scramble started to get the hit.

Vaughan Monroe was first out of the blocks closely followed by The Four Aces.

But the clear winner was the zing go the strings of my heart version by The Chordettes.

Jinny Osborn, Janet Ertel, Carol Buschman and Lynn Evans had a collective spellbinding magic that took Mr Sandman to the top of the Charts.

In late ’54 the record flew off the shelves and was an ever present on the airwaves and the jukeboxes.

The Chordettes magic beam gave everyone a peachy dream.

 

They came out of Sheboygan Wisconsin (like E E Smith and Jackie Mason).

National prominence arrived in 1949 when they were winners on the hugely popular Radio Show, hosted by Arthur Godfrey, – ‘Talent Scouts’.

The Musical Director for the show was Archie Bleyer who was struck by their winning sound.

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He also fell in love with and married Janet Ertel.

Archie was a canny cove who had been a professional musician/arranger/Bandleader since tne early 1930s.

To capitalise on his musical and business smarts he founded Cadence Records in 1952. His biggest sellers on the label were Rock ‘n Roll Immortals The Everly Brothers.

Archie became Phil Everley’s father in law when Phil married Janet Ertel’s daughter from her first marriage.

The  Cadence cash registers were also kept busy counting up the hits from Johnny Tillotson and Lenny Welch.

Mr Sandman benefit from an airy menthol cool production featuring percussion by Archie    Rhythmically slapping his knees!

It’s one of those records that instantly calls to mind the I Like Ike American 1950s.

I suspect the, ‘You Never Can Tell ‘ couple from a recent Jukebox post sashayed to this one in their two room appartment.

The great guitar stylist Chet Atkins cut a distinctive, characteristically fluid,  instrumental version in November 1954 which gave him his first solo hit on the Country Music Charts.

Here’s Chet fleet fingers playing the song live.

 

 

Now, loyal Jukeboxers will have guessed by now that I have more than a penchant for the divine Emmylou Harris.

In addition to her beauty and glorious musicality she is a Jukebox Star because she has exquisite taste across myriad genres.

Emmylou knows a good song when she hears one and she has the knack of making familiar tunes fresh through the purity of her vocals and the carefully chosen musicians she plays with.

Here she is magic beaming all our hearts away.

Roses and Clover. Roses and Clover.

Well there can’t be any doubt about who I’m choosing for Prom Queen!

Emmylou had a multi tracked vocal version solo hit with Mr Sandman but she first recorded it with her sisters in music Linda Ronstadt and Dolly Parton for their wonderful ‘Trio’ project.

Unfortunately the Corporate Dudes at Warner Chappel aren’t keen on any of their versions of Mr Sandman escaping their clutches so I’ll leave you to search out that ambrosial version for yourselves.

I’ll leave you with a perfectly peach instrumental version from yet another Wizard from New Orleans – Snooks Eaglin.

May you all get a good night’s nurturing sleep filled with inspiring dreams.

Turn on that Magic Beam!

 

 

 

The Meters : Mardi Gras Magic – They All Asked For You

This week it’s been school holiday time here.

So, you hope for blue skies, warm winds and sun kissed picnic afternoons.

Dream on!

From dark and glowering daytime skies fell apocalyptic rain.

Scouring winds shook the trees which at night stood spectrally shrouded in deep mist.

Though we had never heard him before a mournful dog, let’s properly call him a Hound, assaulted our ears with low moans interspersed with window rattling barks.

Nothing for it but to dream of a different clime filled with balmy magnolia scented breezes and the appetising aroma of crawfish boils.

Nothing for it but to dream of a City, The Music City, filed with rambling musicians and revelling crowds all in thrall to the rhythm.

The Rhythm.

Time to reside in the City of Dreams.

Time to take a Streetcar named Desire.

Time to sing and dance abondonly in the streets and on the corners.

Time to get in the Groove.

Time to join a people who have syncopation, swing, funk, soul and the blues in their very bones.

Time to Meet De Boys on the Battlefront.

Come on, Come on!  let’s go, courtesy of the mighty Meters, to The Mardi Gras!

 

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Eh, la-bas!

Crawfish etouffee!

Red Beans and Rice!

Creole Gumbo!

And, in case you’re wondering – They All Asked For You.

They even enquired about You.

They All Asked For You.

 

 

Whatever ails you I’m Hear to tell you that’ll heal you!

There are many classic Mardi Gras songs (see my playlist in Notes below) but the one that always does it for me is the one that was the sensation of the 1976 Mardi Gras – They All Asked For You by the Meters.

Why?

Well, because it makes me smile until my face aches.

Because it makes me laugh right out loud.

Because it makes me happy in a gloriously goofy way.

Because it makes me dance and want to dance right out the door into the street grabbing passers by as I go!

Because it makes me want to lead a chant of Crawfish Etouffee! Creole Gumbo!

Because I want to hear it on a loop and dance until I fall down with exhaustion.

The Meters are guardians of The Rhythm.

They live inside it.

On Drums and Vocals – (Joseph)  Zigaboo Modeliste!

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Drummer is to modest a term for Ziggy.

He is an artist in Rhythm.

They All Asked For You works it’s hypnotic way with you through his mastery of the irresistible second line rhythm.

And, if there’s a better name anywhere on this planet than Zigaboo Modeliste let me know.

On Bass and Vocals and production smarts – George Porter Jr.

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When George plays the Earth sighs … now that’s a grounded rhythm.

You can hear the Spanish Tinge and the Creole, Native American and African American rhythmic heritage on every note George plays.

More than that you can feel it in the soles of your feet and deep in your guts.

On Guitar and Vocals – Leo Nocentelli.

Now the story goes that it was Leo who brought, ‘They All Asked For You’ to the Band – though he may have sung them a somewhat more bawdy version than the one you hear here!

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Leo’s lazy, back bayou licks thread generous joy all through the song.

On Keyboards and Vocals – Art Neville.

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Art is of course one of the dynasty of great musicians named Neville.

It’s his rolling, rhapsodic piano that gives the tune its sweep you away to paradise flow.

On Congas, percussion and Vocals – Cyril Neville.

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Cyril has much, much Mojo.

When I’ve seen him in concert he throws out a force field of rhythm and bonhomie that grabs you – uplifting every molecule of your being.

We should also credit the Producer of this Mardi Gras Classic – none other than the peerless Alan Toussaint (whose Mother was Naomi Neville).

When a song is as popular as They All Asked For You it is bound to generate a ton of cover versions.

Given the centrality of the marching band tradition to Mardi Gras I’ve chosen a take featuring a gallery of New Orleans Jazzers.

Leading the Band is Big Bill Bissonnette – trombonist and drummer and crusader for classic New Orleans Jazz.

 

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Prominently features on Trumpet – Milton Batiste.

Milton was a light up the room as soon as he walked in ball of energy.

His pedigree included being one of the original Shuffling Hungarians backing up the quintessential New Orleans pianist Professor Longhair.

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Are you ready to get grooving in the second line?

Aw do it !

Do it!

Eh la- bas!

Crawfish Etouffee!

Creole Gumbo!

You know what – Praise Be! As I look out the window now the rain has stopped.

The mist has cleared.

The Hound has howled his last howl.

Skies are blue.

The winds are warm.

Where’s that picnic basket!

Make sure to pack the King Cake and the Absinthe Frappe.

It’s Mardi Gras time!

Notes :

Immortal Jukebox Mardi Gras Playlist :

Professor Longhair – Go To The Mardi Gras & Big Chief

Earl King – Street Parade

Al Johnson – Carnival Time

Sugar Boy Crawford – Jock -A – Mo

The Hawkettes – Mardi Gras Mambo

Bill Sinigal – Second Line

Smokey Johnson – It Ain’t My Fault

The Wild Tchoupitoulas – Meet De Boys on the Battlefront.

The Wild Magnolias – Handa Wanda & New Suit.

i guarantee you’ll have a hell of a Party!

The Meters ‘Funkify Your Life’ Anthology CD will do exactly what it says!