Charlie Watts & The Jukebox agree : Earl Bostic is Boss – Flamingo!

 

A 7 year old gets introduced to Jazz (and is never the same again).

’Before I wanted to play the drums I wanted to play the Alto Sax. Earl Bostic’s Flamingo was the record that turned me on to Jazz’ (Charlie Watts)

 

Up until the age of 7 I lived in Church Street, Paddington, just over a mile from Marble Arch the landmark that stands as the official centre of London.

Also a mile or so away was Abbey Road Studios where just before my 7th Birthday The Beatles began their epochal recording career.

Nearby was St Johns Wood Library.

Less than half a mile away from home was my parish church and the school where I began my academic studies.

Such were the coordinates of my early life.

Right at the centre, of course, was the home I shared with my parents and my younger brother.

Three rooms above a Betting Shop –  a bedroom partitioned in two, a small living room and a tiny kitchen.

Outside torrents of sound from Church Street Market where you could buy anything from a hair piece to a hula hoop to a handsaw (and I dare say if you knew the right man to ask you could buy a Hawk too).

Photo:Church Street Market

Now, I can’t swear the boy in the picture below is me (though his look and aura matches mine) but I do remember standing in some awe listening to the Salvation Army Sisters preach and sing uplifting hymns with the aim of saving souls.

Photo:A Gathering

Remember what those clever Jesuits said :

Give me a child for his first 7 years and I will give you the man.’ 

In my case almost certainly true.

The 7 year old Tom was;  an obsessive reader, a hundred mile an hour talker and questioner and someone who always wanted to know the who, what, when, where and why about every topic that flashed across the mind.

Both my parents worked long hours in demanding jobs – looking back I must have exhausted them with my relentless enquiries yet they rarely showed any impatience with their effervescent son.

One, nigh infallible, way to staunch my chatter was to play music on the radio or even better to let me cue up a 45 on our Ferguson Radiogram (the pride of our Living Room).

You’ll know some of these as I’ve written about them here :

Runaround Sue’ by Dion,

Walking Back to Happiness’ by Helen Shapiro, 

‘Right Said Fred’ by Bernard Cribbins and, 

’Stranger on The Shore’ by Acker Bilk.

Where did we buy our records?

Why, where else but from a stall just yards from our door – in Church Street Market.

Listening to the stall holders was my introduction to spiel and patter and the art of the dramatic soliloquy :

Now, listen here, gather round, I’ve got juicy tomatoes and melons as big as Sophia Loren’s’

’If you want your whites whiter than white you’ve got no right to go anywhere but John White’s right here!’

’I got cockles and I’ve got mussels, I’ve got eels all the way from the Sargasso Sea – have these every day and your brain will grow as big as Einstein’s’

And, my favourite clarion call :

’If its in the top 10 I’ve got it. If Elvis sang it, I’ve got it.

If its been on the bloomin’ BBC or Luxembourg I’ve got it.

If you can’t remember the name but you can hum it I’ll bet i’ve got it!’

That last peroration from Sid (Symphony Sid of course) who became my favourite stall holder and my most important teacher.

I took to hanging around Sid’s stall when he was closing up for the evening (don’t bother me when I’ve got customers queueing up boy!).

When he was packing up the vinyl treasure it was my chance to ask questions :

‘ I love Twisting The Night Away – tell me about Sam Cooke?

’well boy there ain’t no one alive or dead who sings as naturally as Sam. ‘Course you oughta know that his very best singing, his very best ain’t any of the pop stuff. No! If you want that you’ve got to listen to his gospel stuff with The Soul Stirrers – those records would make a believer out of the deepest atheist I’m telling you!’

’Some people say Elvis is no good since he went in the army but I think, ‘His Latest Flame’ is fantastic – how about you?

’Now Boy, you don’t want to be giving the time of day to those kind of people. I’m telling you 50 years from now the people who really know (and you might be one of ‘em) will tell you that (Marie’s the name) His Latest Flame backed with Little Sister might just be the greatest 45 that anyone, anyone, ever recorded!’

Weeks later he would test me to see if I’d been listening (if you don’t listen close Boy you ain’t ever gonna learn nothin’) :

’What was the gospel group Sam Cooke started out with?’

‘That would be The Soul Stirrers Sid!’

’Good Boy – Look I’ve got a copy here of Del Shannon’s Runaway with just a tiny scratch, fantastic sound that’ll put a your head in a swirl .. take that home now and let me pack up the van in peace.’

’Boy, what was on the other side of ‘His Latest Flame’?

’Easy, Sid, easy that would be Little Sister’.

’Spot on Boy – now I’ve got something special for you here been untouched on the back of this stall for many a year now but I’m telling you this one will outlast all your pop palaver … Earl Bostic playing the Alto Sax on ‘Flamingo’ .. got this off the Jukebox in an American Base .. listen to this Boy, it’ll put hairs on your chest and give you a whole new kind of dreams!’

And, that was how at 7 I got introduced to Jazz, the Alto Saxophone, Earl Bostic and Flamingo!

Now, it took another 7 years before those hairs sprouted on my chest but he was absolutely right about the dreams.

From the moment I first heard Earl’s fruity tone on the Alto Sax I was gone, solid gone.

I had never heard music with such blood and guts life force.

And, dig those Vibes!

Listening to Flamingo I was transported to a shadowy, black and white world where knives flashed and dames smiled dangerously from the doorways of clubs no one like me should ever be allowed to imagine let alone enter.

But that’s the great thing about imagination – once it’s released it’s released and there ain’t t no going back.

Earl became my idol and I drove Sid three quarters mad asking him to find me more Bostic.

Over the next few months along more Bostic beauties : ‘Temptation’, ‘Cherokee’, ‘You Go to My Head’, ‘Sleep’ and, ‘UpThere in Orbit’.

Each new disc became a sacred object for me.

Compared to the full bodied vigour of Earl Bostic most everything else seemed parched and anaemic.

But, like they say, you never forget your first and Flamingo was my first foray into Jazz.

Since then of course I’ve found out that Earl was a legendary saxophone technician with complete mastery of his horn.

I discovered that stellar Jazzers like Benny Carter, Teddy Edwards, Tony Scott, Stanley Turrentine and the blessed John Coltrane himself all played with and were influenced by Earl.

I learned that Earl believed Jazz should never lose sight of The Blues.

Blues had a character that got under the skin and a canny musician could extemporise around that character and have people smile and dance and spend their hard earned money freely.

Earl was very successful because you knew an Earl Bostic Record was going to be an unalloyed pleasure and that you would never, ever, grow tired of listening to Earl’s imperious sound.

Many years later, he became even more of a favourite when I came across a record called, ‘Brooklyn Boogie’ featuring the great Louis Prima and members of my favourite Baseball outfit The Brooklyn Dodgers and reading the credits realised it was written by none other than Earl Bostic!

There’s a legendary figure on the British Jazz scene called Victor Schonfield and I take my hat off to him for this summation of Earl Bostic’s career :

’.. his greatest gift was the way he communicated through his horn a triumphant joy in playing and being, much like Louis Armstrong and only a few others have done’

Bravo Victor and Bravo Bostic!

I’ll leave you with a little more personal history.

One of the many discoveries of our series of house moves over the last few years was a clutch of faded yellow exercise books from my primary school days.

Digging out the book from Spring Term 1962 I see that in very careful script I had answered a series of questions posed by the saintly Sister Mildred as follows :

Favourite Colour – Purple

Favourite Food – Fish and Chips

Favourite Football Team – Spurs

Favourite Book – Treasure Island

Favourite Music – Earl Bostic Flamingo!

Fifty Seven years have rolled around since then but I have to say I’m not minded to change  a single answer.

Take it away Earl.

Blow, Mr Bostic, Blow!

Notes :

I unreservedly recommend, ‘The Earl Bostic Story’ on the Proper Label.

Four CDs, 106 tracks of sheer joy.

Bobby Darin : Tragedy, Trauma & Triumph – Dream Lover

It’s a one time shot, this life, and you don’t get any second chances’ 

‘Boy, I’m pressing my luck – but I’m going to double up!’

‘I’ll go to sleep and dream again, that’s the only thing to do, Till all my lover’s dreams come true’.

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*

Tragedy :

How long have you got before the grim reaper swings his sharp scythe?

A lot longer, we all hope, whatever age we are now.

Not so for Bobby Darin who lived from childhood with the consciousness that because of heart problems it was no good planning for the long term.

Because, at any time, probably soon, his heart would give up the battle and beat no more.

This in the bones knowledge gave him a ferocious, ‘don’t tell me what I can or can’t do’, determination to extract the last full measure from his prodigious talents and have a hell of a time while doing so!

In the end all Bobby got was 450 months.

A little over 37 years before Death came a calling.

I think we might all agree there is a tragic element to such a life.

Trauma

In addition to spending a great deal of his childhood with the pain of rheumatic fever and the dread that death might creep up on him at any moment Bobby Darin discovered just after his marriage to Sandra Dee had ended that the bedrock of his life – his relationships with his Mother and Sister had been based on an elaborate lie.

Bobby had thought his Father was Saverio Antonio “Big Sam Curly” Cassotto, who had died in prison before his birth.

But, Big Sam was not Darin’s Father.

In fact Bobby would go to his grave never knowing the identity of his real Father.

He would die knowing the identity of his Mother and Grandmother but he would have to come to terms with the knowledge that the beloved Sister of his youth was in fact his Mother and the adored Mother who had brought him up was in fact his Grandmother!

I think we can properly say those were traumatic circumstances which would leave a deep brand on the psyche.

Triumph

450 Months.

37 Years.

How much can you achieve in the time?

Well, the statisticians will tell you that he had 22 Billboard Top 40 Hits with 2 of those hitting the Number One spot and three further discs lodging in the top 5 – success which was replicated all around the record buying world.

Rock ‘n’ Roll novelties like, ‘Splish, Splash’ and, ‘Queen of the Hop’ which immediately took up residence in your brain and had you singing your own karaoke version as you travelled to school.

Swingin’ Big Band belters like, ‘Mack The Knife’ (Sinatra, not given to extravagant compliments dubbed Bobby’s version definitive) and, ‘Beyond The Sea’ which won him kudos from professional musicians and several generations of fans senior to him.

Blues drenched workouts like his version of Ray Charles’ ‘What’d I Say’.

Folk Rock tender tones like his version of Tim Hardin’s, ‘If I Were a Carpenter’ and his own, ‘Simple Song of Freedom’.

Oh, and he acted in more than a dozen movies writing two full scores and five title songs.

And, he broke the house attendance records in a string of Las Vegas’ clubs outdrawing legends of show business with decades more experience and exposure.

He seemed to be permanently in the studio when he wasn’t on the road or on the TV or Film Set.

Top selling Album followed Album in every imaginable style – Pop, Rock ‘n’ Roll, Jazz, Rhythm and Blues, Broadway Shows, Folk and Singer-Songwriter and storming finger clickin’, jive talkin’, audience rousin’ live shows.

Bobby Darin never limited his ambition and worked obsessively to meet and surpass those ambitions.

Researching this post I was taken aback at the depth and breadth of his talent and resolved that there will have to be many more Posts here about him if I am to do justice to the scale of his achievements.

Yet, when I think of Bobby Darin I always come back to one song – Dream Lover.

Dream Lover, written by Bobby, was the song that turned him from a here today/forgotten tomorrow teen sensation into a songwriter and performer for the ages.

If you can write a song which calls out to every yearning innocent heart (and we all once had and remember our innocent heart) you are certain of immortality.

Every night I hope and pray a dream lover will come my way.

I want a dream lover so I don’t have to dream alone.

Dream lover where are you?

Some day, I don’t know how.

And the hand that I can hold to feel you near as I grow old.

Until then I’ll go to sleep and dream again.

Till all my lover’s dreams come true.

Till all my lover’s dreams come true.

There’s nobody alive or dead who hasn’t hoped and prayed a dream lover would come their way.

Bobby Darin’s song writing career properly started out of a tiny office (more accurately a broom cupboard) he shared with Nick Venet in New York’s legendary Brill Building.

Riding in the lift or seated at the lunch counter you might find yourself next to Carole King, Burt Bacharach or Leiber & Stoller (love those Latin rhythms they use!).

Songs, Hits about to Hit, filed the corridors, who’s that pudgy kid on the piano – Neil Sedaka you say – OK let’s remember him if we ever get to make a record.

So, Bobby began to dream of a song, a yearning song. with a Latin rhythm, which incorporated the sweetness of Doo-Wop and the drive of Rock ‘n Roll.

That’s when he made the wonderful Demo below featuring the guitar of Fred Neil.

There’s a tender magic about this version which I find immensely affecting.

Bobby’s singing his heart out here.

Dream lover where are you?

 

This Demo convinced the powers that be at Atlantic Records (Ahmet Ertegun and Jerry Wexler) that there was a huge Hit here.

So ace Engineer Tom Dowd was at the board as Neil Sedaka played the piano and Bobby sang for all his worth.

Number 2 in the US. Number 1 for 4 weeks in the UK.

And, a song that’s had hundreds of covers though none can match Bobby (that said look out for Rick nelson’s take).

Dream Lover is one of those songs that’s always hovering somewhere in your heart.

As soon as it emerges from the ether you’ll find yourself, with a wry smile on your face, remembering that innocent heart, singing :

Every night I hope and pray a dream lover will come my way …….

 

 

In memory of Walden Robert Cassotto (Bobby Darin) May 1936 to December 1973.

Sleep well Bobby, sleep well.

 

David Bowie, Nina Simone : Wild Is The Wind

 

The wind bloweth where it listeth.

Where it listeth.

And we, we are nought but chaff in the wind.

Chaff in the wind.

When the wind is northerly ‘tis very cold.

And, when we are in Love reason is buffeted like wind-blown smoke.

Our lives are but feathers helplessly teased and tormented by the winds of Love.

All the winds sigh for sweet things dying, dying.

The wind from all points of the compass; north, east, south or west gathers and remembers our voices, the whispers of our hearts, and broadcasts them in the calls of the birds and the threshing of the leaves and fields.

The wind feeds the fires of Love and in the end is there to extinguish the flames too.

The east wind brought the locusts.

Two riders were approaching.

The wind began to Howl.

Howl.

Love me, love me, love me, love me.

Say you do.

My love is like the wind and wild is the wind.

Wild is the wind.

Wild is the wind.

Wild Is the WInd was written by Dimitri Tiomkin and Ned Washington (previously featured here as composers of High Noon) for a 1957 romantic melodrama of the same name starring Anthony Quinn and Anna Magnani.

Johnny Mathis gave the song a poised and polished performance gliding atop sweeping strings.

Yet, there is no sense in his reading of the desperation implicit in the lines :

’With your kiss my life begins .. you’re spring to me .. All things to  me …

Don’t you know you’re life itself’.

No, the song would have to wait until an artist of genius took possession of the song and through the alchemy of her art transformed a leaf trembling breeze into a heart shattering hurricane.

It’s the same song in tne way that someone returning home after the trauma of war is the same person who departed.

Nina Simone in 1959 at NYC Town Hall in her vocal and piano playing evokes layer after layer of bruised and battered feeling.

The euphoria of the sound of mandolins and the shocking abandonment and abasement of the wild wind of the obsessed Lover are made present in every breath and every note so that the listening audience must have felt emotionally wrung out as the last note subsided into exhausted silence.

Don’t you know you’re life itself!

Better to die than to live without this Love.

The leaf clinging to the tree.

We are like creatures, creatures, in the wind.

Cling to me. Cling to me. Cling to me.

Wild is the Wind.

Wild is the Wind.

Nina Simone would return over and over again to Wild Is the Wind.

In the tour de force version below, issued in 1966, the wind she evokes is a tornado that sweeps us into a tumult of a Love that is nothing less than Life and Death to the Lover.

An eternally entwined trinity.

Life and Love and Death.

Don’t you Know you’re Life Itself!

Creatures, creatures of the Wind.

The sound of Mandolins.

With your kiss my Life Begins.

Don’t you know you’re Life Itself.

Cling to me.

Life and Love and Death.

Wild is the Wind.

Wild Is the Wind.

David Bowie in free fall after the Ziggy Stardust years found in the artistic persona of Nina Simone an anchor and a ladder.

Especially in her performance of Wild is The Wind which must have attracted him as the quintesssntial demonstration of how a true artist could summon and surrender to a tsunami of emotion yet remain in control through craft and discipline so that it is the audience and not the artist who is overwhelmed.

Bowie recorded the song for his bravura 1976 album, ‘Station to Station’.

Being the very smart guy he was he knew not to attempt to sing the song to piano accompaniment for that could only cast him into Nina’s Olympian shadow.

Instead, with extraordinary care, he arranged a version that had oceanic sway as intertwined guitars (Carlos Alomar and Earl Slick) and percussion (Dennis Davis) urged his vocal to reach, reach, reach until we are bereft – leaves clinging to the tree , helpless.

For we are creatures, creatures, sweet things dying.

With your kiss My Life Begins.

Don’t you know you’re Live Itself.

Wild Is The Wind.

Wild is The Wind.

 

Tne wind bloweth where it Listeth.

Where it listeth.

And we are nought but chaff in the wind.

Chaff in the wind.

When David Bowie performed at Glastonbury in tne year 2000 he had been through many storms, many of his own making, and had survived them to emerge as a magus in complete command of his art.

The sound of Mandolins

Love me, love me, love me, love me.

Life Itself.

Cteatures In The Wind.

Creatures.

Life and Love and Death.

An eternally entwined trinity.

We are all helpless before the Wind.

Leaves clinging to the trees.

Wild Is The Wind.

Wild Is The Wind.

Wild Is the Wind.

Wild Is the Wind.

Thanks due to The King James Bible. Truman Capote, Christina Rossetti and William Shakespeare for inspiration.

The Penguins : Earth Angel (Street Corner Symphonies & Subway Psalms)

Street Corner Symphonies.

Subway Psalms.

Fountain flows of secular prayers unceasingly ascending to very Heaven.

Yearning, yearning, yearning.

A feeling in the heart igniting the spine.

Somewhere out there beyond the block there must, must, be someone waiting, yearning, believing, just like you.

The air is charged, vibrant.

Through the Ether you can hear the harmonies.

Through the Ether you can hear the echoes.

Listen!

Listen to The Harptones, The Orioles and The Five Satins.

Listen to The Cadillacs, The Charms and The Capris.

Listen to The Danleers, The Dubs and The Duprees.

Can’t you hear them singing just for you?

Listen to The Penguins.

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Oh, oh, the vision of your loveliness.

I hope and I pray.

I pray.

Oh, someday, someday, I’ll be the vision of your happiness.

Happiness. Happiness. Happiness.

Please be mine.

Darling dear.

Darling dear.

One Moonbeam.

Two Moonbeam.

A street corner symphony indeed.

A subway psalm for sure.

Oh to be just such a Fool.

A Fool in Love.

In Love.

Today, another ordinary/extraordinary Jukebox story surrounding a Doo Wop classic from 1954.

An ordinary/extraordinary story featuring:-

  • Two sets of high school friends recording a demo in a Los Angeles garage that goes on to sell at least 10 Million copies and feature in a succession of Hollywood movies.
  • A court case, with singing from the witness box, to determine who wrote the song and hence who gets the royalties (for it is a music business truth that where there’s a Hit it won’t be long before there’s a writ).
  • The near bankruptcy of the first independent record label to achieve a national smash hit.
  • One definite murder and one highly suspicious death.
  • A guest appearances by Frank Zappa.

So, let’s begin with The Penguins.

They took their name from ‘Willie’ the iconic mascot for the Kool Cigarette brand.

Image result for kool cigarettes penguin mascot

The members who recorded, ‘Earth Angel’ were Cleve Duncan (lead vocal), Curtis Williams (bass), Dexter Tisby (tenor) and Bruce Tate (baritone).

Curtis and Bruce were alumni of Jefferson High while Cleve and Dexter met at Fremont High.

The piano on the recording was played by Gaynel Hodge (who had previously been in The Hollywood Flames with Curtis Williams and who would go on to be a founder member of The Platters).

No one is sure who played the drums though some speculate that Bongo King Preston Epps was in the garage on that fateful October day.

It seems that Earth Angel emerged out of the collective consciousness and unconscious of Curtis Williams, Gaynel Hodge and Jesse Belvin (a prolific songwriter and melting vocalist who had been their mentor in The Hollywood Flames).

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Jesse’s song from 1952, ‘Dream Girl’ is an obvious influence on ‘Angel’ as is The Swallows’, ‘Will You be Mine’.

Close listening to Patti Page’s, ‘I Went to Your Wedding’ (which The Hollywood Flames had demoed) and The Flames own, ‘I Know’  will reveal pre echoes of Earth Angel.

And. there’s a definite sonic signature traceable back to Rodgers and Hart’s, ‘Blue Moon’ which occupied some part of everybody’s musical memory.

When the royalties battle came to court Jesse Belvin’s virtuoso vocals convinced the Judge that he deserved his share of the greenback bonanza along with Curtis and Gaynel.

The Penguins were in the 2190 West 30th Street Garage because that was where Dootone Label owner, Dootsie Williams, liked to record.

The Garage Studio was owned by Ted Brinson, a relative of Dootsie’s, who had been a Bass player for the Jimmy Lunceford and Andy Kirk swing bands.

Dootsie is the beaming bespectacled gent below next to Johnny Otis a legendary black music mover and shaker who wearing his Disc Jockey hat (Johnny wore a lot of hats) gave, ‘Earth Angel’ many a spin to push it to the top of the LA Charts.

Dootsie heard something winning in The Penguins sound and, as a music publisher, thought that their songs might set the cash registers chiming.

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Thinking of those cash registers and Juke Box Nickels it wasn’t, ‘Earth Angel’ that Dootsie heard as the Hit.

No, he preferred, ‘Hey Senorita’ and that was the official ‘A’ side when the record was issued (the choice perhaps not unconnected with Dootie’s name having a writing credit on Senorita!).

Now, I like the Latin feel of Senorita and the heart racing bongos (hello Preston!) but even in 1954 I could have told you that the treasure was on the ‘B’ side.

And, if you want to know how a record will sell ask a man who sells records and then ask a man who spins records on the radio.

They know!

Dootise took an acetate of the two sides to John Dolphin of Dolphin’s of Hollywood an all night record shop and a network centre for the black community.

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Broadcasting out of Dolphin’s front window was White Disc Jockey Dick, ‘Huggy Boy’ Hugg who attracted a loyal audience across the Black and Latino communities.

That’s Huggy on the right below.

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John Dolphin and Huggy Boy told Dootise that there was there was absolutely no need for any instrumental overdubs as the ravishing beauty of, ‘Earth Angel’ lay in the impassioned foregrounded vocals.

Still, it was Senorita which went out as the A side but radio DJs and the public were in no doubt – flip that platter and give us more of, ‘Earth Angel’!

And, that’s exactly what happened.

Earth Angel tore up the charts in every territory and raced to the top of the R&B list and steadily climbed the Billboard Pop ladder.

Dootsie pressed as many sides as he could though the strain on his cash flow pushed him close to bankruptcy as the distributors took their time reimbursing him for the sales.

Eventually Dootsie made sweet dollars from Earth Angel as did Jesse, Curtis and Gaynel.

As for the rest of The Penguins the story was not so happy.

Through the smarts of Buck Ram (pictured below) they got out of their contract with Dootone and landed with major label Mercury.

Image result for Buck Ram songwriter images

Buck’s interest in The Penguins was not perhaps as fervid as his interest in the group he insisted be part of the ‘transfer deal’ – a group called The Platters for whom he would write a series of immortal hits including, ‘The Great Pretender’!

So, while The Platters were launched into the showbiz stratosphere The Penguins languished and never really troubled the charts again.

Yet, they carried with them forever more memories of high times at the Moulin Rouge in Las Vegas and their name in lights at the gala reopening of Harlem’s Small’s Paradise.

They played Alan Freed’s Labor Day show at the Brooklyn Paramount with legends such as Fats Domino, the Teenagers, the Cleftones, the Harptones and the Moonglows.

And, deep in their hearts they knew that on an October day in 1954 they had made a record that would never die.

Cleve Duncan led a version of The Penguins for decades before his death in November 2012. It was the power of the plea in his tenor lead along with Dexter Tisby’s tender stewardship of the bridge section that made, ‘Earth Angel’ so distinctive and unforgettable.

In one of those, ‘you couldn’t make it up’ happenstances a deeply knowledgeable fan of The Penguins and all the greater and lesser Doo Wop groups was none other than Frank Zappa and when he wrote a song, ‘Memories of El Monte’ in 1963 he turned to Cleve Duncan’s Penguins to bring it to charming life.

El Monte is based on the chords of Earth Angel and celebrates rock ‘n ‘roll dances at El Monte Legion Stadium where the young Frank and like minded teenagers – Black, White and Latino mixed to listen to and dance to music they all loved.

The song and Cleve’s lovely vocal hymns The Heartbeats, Marvin & Johnny and The Medallions among others.

A wonderful homage that sends you right back to the original because through The Jukebox we can travel back to the past and find a sound and a love that will always last.

Earth Angel … Earth Angel .. will you be mine?

My darling dear  .. love you all the time

I’m just a fool .. a fool in love with you

Earth Angel the one I adore

Love you forever and ever more.

And, that’s how long, ‘Earth Angel’ will be listened to and swooned over.

Forever and ever more.

In memory of Cleve Duncan 1935 – 2012, Curtis Williams 1934 – 1979 and Bruce Tate 1937 – 1973. Wishing long life and good health to the surviving Dexter Tisby.

Notes :

Those murders?

Sadly John Dolphin was sadly shot to death in 1958 in his own store. A murder that was witnessed by Bruce Johnston ( later in the Beach Boys) and sandy Nelson (of Let There Be Drums fame).

Dolphin’s death was a profound loss to his community where he had been prominent as a business man, music promoter and producer and networker.

Jesse Belvin died in a car crash with mysterious circumstances on a tour of The South at the age of 27.

Jesse’s signature song was the exquisite, ‘Goodnight My Love’ which pioneer Rock ‘n ‘ Roll DJ Alan Freed used as his show ending song.

His 2 LPs, ‘ Just Jesse Belvin’ and, ‘Mr Easy’ are wonderful records ideal for late night reverie listening.

Dick ‘Huggy Boy’ Hugg 1932 – 1960 was a Rhythm & Blues and Latino music Evangelist.

The DJ persona in Dave Alvin’s great song ‘Border Radio’ (previously featured here on The Jukebox) is believed to be Huggy Boy.

 

 

Happy Birthday Don Everly! Singing beyond Singing.

Note : This Post is best read in conjunction with the previously published,’Phil Everly Remembered’ from January 2017.

Don Everly was born on February 1st 1937

Don is the elder of the two brothers – almost two years older than Phil.

When they started out on the radio singing before they went to elementary school they were billed as, ‘LIttle Donnie and Baby Boy Phil’.

Don had the deeper baritone tenor voice.

Phil had a pure strong tenor and generally harmonised one third above Don.

Together, singing in harmony for decades, they achieved an ambrosial sound that has never been matched in popular music.

When they started to record it was Don who played the punchy rhythm guitar licks that signalled that though deeply grounded in Country Music these young men were true Rock ‘n’ Rollers who had been listening to the thunderous groove of Bo Diddley.

That influence is unmistakeable from the intro to their breakthrough single ‘Bye, Bye Love’.

As no lesser an authority than Keith Richard put it :

’Don’s acoustic guitar, that rhythm guitar, was rocking man! I guess that rubbed off on me’.

Here’s Don and Phil at their epic, ‘Reunion Concert’ from 1983 showing that they had lost none of their instrumental and vocal potency.

Sadness never sweeter.

Bye, bye Love.

Bye, bye, Happiness

Hello Loneliness.

I think I’m gonna Cry.

Bye, bye Love.

It was generally Don who sang the solo parts in Everly Brothers songs.

There was a quality in his voice, a seeming deep acquaintance with the heartaches that assail us all, that never fails to move me deeply.

And, when he and Phil found a song like, ‘All I Have To Is Dream’ they graduated from being upcoming hit makers into an immortal presence in millions of hearts.

Gee whiz. Gee whiz.

Dream, dream, dream.

In 1960 Don wrote, ‘So Sad (To Watch Good Love Go Bad)’ allowing The Everly’s to demonstrate their unparalleled control of the slow harmony ballad.

Teddy Thompson (Richard & Linda’s son) said that he had spent thirty years seat hing for singers as good as The Everly Brothers before realising that it was an impossible pursuit.

Who could argue with the truth of that verdict?

Inevitably, two brothers who have been singing together since early childhood will have fallings out and Tne Everlys, deeply contrasting personalities, certainly did.

Working apart tney both made fine records.

I’ve chosen to showcase here a sublime duet recording of a Louvin Brothers song Don cut with Emmylou Harris.

I remember the first time I heard this thinking – Emmylou is a magnificent singer and a great harmoniser but Don Everly, Don Everly! has clearly been blessed with a gift that is  very rare indeed.

A gift that he shared in such generous measure with all of us.

Happy Birthday Don.

Thanks for all the songs and all the singing.

I’ll conclude with an Everly Brothers performance of, ‘Kentucky’.

This is singing that goes beyond singing.

Singing that is the heart in pilgrimage and the soul in paraphrase.

The dearest land outside of Heaven.

Heaven.

Christmas Alphabet ; A for Amos Milburn & Ahmad Jamal

After the last Post’s deep dive into mysticism it’s time to relax and indulge in a little Christmas cheer.

And, who better to provide such cheer than our old Friend and carousing companion, Amos Milburn!

In our house the Christmas wreath adorns the front door.

The tree is decorated and the lights are twinkling.

Underneath the carefully chosen presents are mounting.

The invitations to family and friends have been sent.

We won’t worry about those pesky January bills.

No, we are getting good and ready (I’m practicing my charades mimes!).

We’re gonna dance in the hall and the kitchen and the living room.

We’re gonna finger pop ’til New Years Day.

Because, when all is said and done, Christmas comes but once a year.

Once a year.

Let the good times roll.

Enjoy!

 

And, there will come a moment when all the preparations are complete.

A moment when stillness is all around.

The children are, finally!, asleep.

Somewhere, from a moonlit sky, the snow is falling, hushing the world.

Let it snow.

Ahmad Jamal, a favourite of Miles Davis (and any favourite of Miles’ …), conjures up the scene with his Trio.

Let it snow.

The last Post in the Series will be on the 21st – Don’t Miss It!

Christmas Alphabet S for Santa Claus Is Back in Town : Elvis Presley

It is a moot point as to when the Christmas Season begins.

December 1st?

First Sunday of Advent?

Well, in my house, it begins the day I walk along the shelves of vinyl and with due reverence slide out, ‘Elvis’ Christmas Album’ which has been for 61 years now the best Christmas Album ever made.

If you want proof of that just cue up your stylus and play track 1 Side 1 – ‘Santa Claus Is Back in Town’ and marvel again at the sheer majestic glory that was the voice and persona of the young Elvis Presley!

The sensuous power of his singing here leaves the pretenders to his throne suffocating in dust!

Elvis don’t need no reindeer nor no sack on his back.

No, when he rolls up in his big black Cadillac – Whoa! Whoa! Whoa!

Here’s a Santa that will always be welcome back in town by every pretty baby the town can hold.

His magnetism, vocal assurance and sheer delight in his prowess shines through every bar.

There will always and forever only be one King.

 

The Alphabet Series continues on 15/17/19 and 21 December.

Don’t Miss One!