Allen Toussaint, Ernie K Doe : Mother-in-Law, Here Come The Girls

Where am I headed?

Well, walking the hills of old Duluth can get might cold.

So, time to head down to the source.

Down Highway 61.

Following the mighty Mississippi.

All the way down.

Thirteen Hundred miles and more.

All the way down.

Down to the Crescent City.

New Orleans.

Image result for new orleans 1960s images

New Orleans, where the food and the climate and the music have a flavour that you just can’t get anywhere else.

Nowhere else has that special mix of ethnicities and rhythms that make for a perfect tasting gumbo.

So, back to the Source.

The City of Louis Armstrong and Antoine Fats Domino.

The City of Professor Longhair and Irma Thomas.

The City of Allen Toussaint.

Embed from Getty Images

 

and Ernest Kador Jr – eternally to be remembered as Ernie K-Doe.

Embed from Getty Images

In April 1961 Allen Toussaint went into the J&M Studios in New Orleans with Ernie and a hand picked crew of musicians and emerged with a multi million seller which became the first Pop Number One from the Crescent City (a feat denied to Fats Domino and Little Richard).

A record that kept Del Shannon’s ‘Runaway’, Ricky Nelson’s ‘Travelin’ Man’ and Gene McDaniels’ ‘One Hundred Pounds of Clay’ off the top of Billboard.

And that record was?

Don’t tell me you don’t know, ‘Mother-in-Law’.

As Ernie said (and I ain’t about to argue) :

”There aren’t but three songs that will last for eternity,’ ”One is ‘Amazing Grace.’ Another is ‘The Star-Spangled Banner.’ And the third is ‘Mother-in-Law,’ because as long as there are people on this earth, there will always be mother-in-laws.”

Once you’ve listened to it fifty times or so (in the first week you come across it!) you wont be arguing with Ernie either.

I trust you’ve got your dancing shoes on ’cause you’re sure gonna need ’em!

 

Burn, K-Doe, Burn!

You just good, Ernie, that’s all!.

Now, ain’t that good for what ails you?

If skies are grey, the mailman hasn’t called for a month and your doctor won’t even tell you what it is you got I prescribe three spins of, ‘Mother-in-Law’ and I guarantee you’re going to feel a whole lot better.

Allen Toussaint brought all his skills as a songwriter, piano player, band leader, producer and arranger to Mother-in-Law.

The tempo is just right – a relaxed shuffle that demands you sway along to it.

The pitch perfect bass answering vocal comes courtesy of Benny Spellman.

Image result for benny spellman images

Later on Ernie returned the favour by singing back up on Benny’s ‘Lipstick Traces (on a Cigarette) another classic from the pen of Allen Toussaint.

The riverboat setting out sax is provided by Robert Parker (previously featured on The Jukebox with, ‘Barefootin’).

Image result for robert parker musician images

Stirring al the ingredients ’til everything was just so and providing the addictive piano throughout was Allen Toussaint himself.

And Ernie?

Well Ernie provided charm by the bucket load and sang lead with a smile so broad you can hear it in every groove.

Every groove.

And, that Ladies and Gentlemen, is how you confect an all time classic!

At this point I must issue a Formal Disclaimer.

My own Mother-in-Law, Enid (RIP), whom I miss greatly could not have been more warm and welcoming to me when I appeared as a prospective Son-in-Law.

Far from being sent from ‘Down Below’ she was clearly sent here from Above.

Ernie gloried in the success of ‘Mother-in-Law’ but though he made many fine records subsequently he was never to have another mega hit.

What he did become through the force of his personality was a bona fide New Orleans legend.

And, far away across The Atlantic, deep in the Surrey Rhythm & Blues Delta, Eric Clapton with The Yardbirds chose to record another Ernie K-Doe and Allen Toussaint song for their debut single.

Later on, the great Warren Zevon (due to feature on The Jukebox soon) brought his own lascivious lupine genius to the song.

Still and all it’s Ernie’s version that gets me on the dance floor – you just cant beat that New Orleans strut on a ‘Certain Girl’.

Tempo, Tempo, Tempo!

 

Ernie’s national and International career was cast into the doldrums by the British Invasion and the rise of Motown.

Still, Allen Toussaint remained faithful to an old friend and in 1970 brought Ernie into the Studio with New Orleans finest.The Meters, and crafted a superb album which featured a guaranteed smash hit in any sane world, ‘Here Come The Girls’.

Except, as we all know all too well, we very often live in an insane world – so Here Come The Girls came out and promptly vanished into the ether.

Just listen to the joyous funk of this track and wonder what you have to do to have a Hit!

Times were hard for Ernie from the mid 70s to the end of the 80s.

He grew far too fond of The Bottle and seemed unable to recover that winning charm.

It was the love of a good woman, Antoinette Fox, that saved him.

She convinced him to bid the booze goodbye and gave him the energy to relaunch his career as a performer and crucially for his local profile as a Radio DJ for WWOZ and WTUL.

Ernie’s outsize personality found a ready audience and he became a much loved figure once again in his Hometown.

He loved to dress up to and beyond the nines and as the host in his own, ‘Mother-in-Law’ Bar and Lounge he was entirely capable of singing ‘Mother-in-Law’  ten times in a row and having the audience roar along with every word!

Ernie died in July 2001 as a revered elder statesman of the Crescent City music scene and he was later, quite properly, inducted into the Louisiana Music Hall of Fame.

Oh and as The Jukebox has told you before, and will again :

‘A true message always gets through. Sometimes it just takes a while’.

For in 2007 some bright spark in the British advertising world had the brilliant idea that the perfect song to sell Make Up products for Boots (a chain of Pharmacies long a staple of the British High Street) was none other than Ernie K-Doe’s, ‘Here Come The Girls’!

It featured in a series of Ads that everybody from 8 to 80 loved and sang along to with gusto. Soon, ‘Here Comes The Girl’ was a genuine hit and the shade of Ernie must have laughed and said, ‘I knew, I always knew, it was a Hit!’

Burn K-Doe burn!

You just good Ernie, that’s all.

Too Good.

I’m going to wrap it up today with an Easter Extravaganza for y’all.

Here’s Ernie with Allen reliving those golden days and thrilling us all.

Burn K-Doe, Burn!

Oh, and I must admit it’s been a long, long, time since I’ve spontaneously launched into a rendition of, ‘Amazing Grace’ or ‘The Star Spangled Banner’.

But, quite often, when I’m walking in the South Downs Hills, bubbling out of my subconscious comes :

’Mother-in-Law (Mother-in-Law) ….. and the miles fly by.

Notes :

Ernie was the ninth of eleven children.

His father was a Baptist Preacher so Ernie, as so many, began his singing career in the Gospel tradition – his early hero being the stupendous Archie Brownlee from the Five Blind Boys of Mississippi.

After a few years in Chicago as a teenager he returned to New Orleans and was talent spotted by Bumps Blackwell.

However, it was only when he signed to Minit Records and came under the tutelage of Allen Toussaint that his career blossomed.

Further Tracks by Ernie that I love include :

’Hello My Lover’, ‘I Cried My Last Tear’, ‘Te-Ta-Te-Ta-Ta’ and ‘Popeye Joe’.

Ben Sandmel has written a very enjoyable appreciation of Ernie in, ‘Ernie K-Doe : The R&B Emperor Of New Orleans’.

The Who : I Can’t Explain

Easter, a time for retreat, reflection and revelation.

So, I have journeyed to the ancient flatlands of the East where the winds hit heavy off the coast.

By passed and forgotten lands filled with ghosts.

The ghosts of Boudicca and the Iceni.

The ghosts of Hereward the Wake and his Fen warriors.

Seried ranks of airmen from Wichita and Warsaw and Winnipeg and Waterford and Wellington and Worcester who flew one mission too many and who now sleep under endless East Anglian skies.

I stirred a few ghosts of my own when I revisited my old Cambridge College.

Looking up at the window of my old room I was teleported back 40 years or more to walk imaginatively beside the curious (in all senses of the word) youth who seemed to have spent a whole year reading Thomas Aquinas’ ‘Summa Theologica’.

614 Questions. 3125 Articles.

Everything that could be said and explained, Explained.

Man and God and Law.

And yet, the great Thomas himself overwhelmed by a mystic insight before his death came to regard his life’s work as nothing more than Straw in comparison to the reality he was attempting to explain.

Some things you know but can’t explain.

Some things you feel in your bones.

Sometimes your heart beats fit to bust out of your chest.

Sometimes the hormones surge.

The blood sings.

If only your heart would give up its secret.

If only you could say the words you are dying to say.

You’ve got a feeling inside you can’t explain

You feel hot and cold.

You’re feeling good.

Down in your soul.

Dizzy in the head.

Ah, but, you can’t explain.

You can’t explain.

Do you think it’s love?

Do you think it’s love?

Try to say it (go on you do)

Try to say it.

I think it’s love.

Love.

Forgive me.
*
I can’t explain.
*
I think it’s love.
*
I can’t explain.
*
Love.
*

 

They had been The High Numbers.

Now and forever they were The Who.

With this record they announced themselves as a great group.

One to stand shoulder to shoulder with The Beatles, The Rolling Stones and The Kinks.

A group bursting with talent and drive and character.

An unstoppable Force.

A group with a distinctive sound and ethos.

Modernists.

Mods.

Style and Attitude.

Attitude with a capital A.

The energy of the streets and estates.

The experimental approach of the Art School.

A sound emerging like a train from the dark tunnel of post war British History.

Specifically drawing energy from a City, London, throwing off the grey dust of the bomb sites and austerity.

London about to dazzle in thrilling colour after decades of monochrome.

The youth of London ravenous for the New, The Modern.

Purple Hearts. French Blues. Black Bombers.

The Suit. The Scooter. The Sound.

The correct number of buttons.

The barnet cut – just so.

Ravenous for clothes and music that was New.

Fashion and Sound that was Theirs!

Youthful beneficiaries of the 1944 Butler Education Act and the end of Conscription into the Armed Forces.

A generation not exhausted by a depression followed by a world war.

A generation not carrying the guilt of having survived when so many others had not.

A generation released into unlimited ambition.

A youth quake of disruptive, undeferential, talent and energy.

Ray Davies, Richard Hamilton, Mary Quant, Albert Finley, Pauline Boty, Terence Stamp, David Bailey, Julie Christie, Mick Jagger, Bridget Riley, Tom Courtney.

Leaders.

Emblems.

Faces.

Pete Townshend : A Face among Faces.

Fiercely intelligent.

Fiercely energetic.

Electric, overflowing with intelligence and energy.

Creative and destructive.

Make that guitar scream and ring like an alarm!

Smash that guitar to smithereens!

Write ringing, screaming, songs that tumble out trying to explain all that can’t be explained.

Be honest about how confused life is when you are young and the blood is singing and the hormones are raging.

Can’t explain.

Can’t explain.

Record and perform the songs with a natural front man singer.

With a bass player who holds together all the manic energy surrounding him.

With a drummer who plays the drums as the lead instrument and whose energy levels are always in the red, ’about to explode’ zone.

Absorb, contain and volcanically release all this energy through your guitar.

Attend to those funny dreams.

Again and again.

Tenderness and Terror.

Denial and Declaration.

Can’t explain.

Keep silent or speak out.

Tenderness and Terror.

Dizzy in the Head.

Can’t explain.

Can’t explain.

I think it’s love.

Love.

Carole King, Dusty Springfield, The Byrds, Nils Lofgren & Richard Thompson : Goin’ Back

A babe in arms.

A babe in your mother’s warm embracing arms.

Lifted up in the chill night air surrounded by heady scent of white blooms all the moon long.

Blanketed in sulphurous Fog you walk hand in hand with Dad and though you can’t see road or pavement and don’t know where you are going you do know you are safe and will arrive – because you are hand in hand with Dad.

The Walnut of the radiogram gleams to reflect your face.

And, when the knob is turned a lovely green light blushes the room.

You know you’re not allowed to switch it on.

But .. and  from the speakers emerges something wonderful, miraculous :

Don’t want your love anymore
Don’t want your kisses, that’s for sure
I die each time I hear this sound
Here he comes, that’s Cathy’s clown.

Now, the room is filled and your heart is filled and your soul is filled and you will never forget this moment.

Happy Highways.

Blue remembered hills.

Shining plain forever in the memory.

When you are small you are told and might believe you know nothing worth knowing.

Ah! but to be the prince of apple town.

To be green and carefree, huntsman and herdsman, in the Sun that is young once only.

First knowing.

First morning song.

Young and easy, oblivious of the mercy.

Angel infancy.

Shadows of eternity.

Bright shoots of everlastingness.

Oh, to travel back and tread again on that ancient track to the land of lost content.

The slender tops of fir trees close against the sky.

Now there’s more to do than watch my sailboat glide.

No more games to only pass the time.

Living life instead of counting years.

I’d rather see the world the way it used to be.

So catch me if you can I’m going back.

Going back.

Embed from Getty Images

In 1966 Carole King and Gerry Goffin gave us a magic carpet ride song that looked poignantly back to the childhood land of lost content and tremulously forward to a world where thinking young and growing older is no sin.

A world where the game of life can be played to win.

Catch me if you can.

Streaming, filled with light, through the eye of a needle.

Going back.

Sing it for me Dusty.

Take me back.

Dusty Springfield.

Unquestionably thev finest pop/soul singer ever to come from the British Iles.

A singer of both power and delicacy.

Dusty finds the deep melancholy and the fragile hope in Goin’ Back.

Dusty knew that great songs were rare and precious things.

Time after time Dusty found depths of meaning within songs few had even guessed at.

Time after time singing these songs Dusty found something within them that brought out aspects of herself she had barely guessed at.

Beauty emerging out of Hide and seek with her fears and ours.

Catch me if you can ….

Now let’s fly high, eight miles high, with The Byrds for a panoramic take on Goin’ Back.

I think I’m goin’ back to the things I learned so well in my youth.

Catch me if you can.

Catch me if you can.

 

Carole King left an indelible mark on the 1960s threading veins of pure gold through the decade with the songs she wrote with Gerry Goffin.

Come the 1970s she was ready to move to the centre of the stage and put her own stamp on the songs she had gifted to other singers and groups.

Listening to her version of Goin’ Back it occurs to me that she has rarely received due praise for the singer element in the Singer/Songwriter appellation so often ascribed to describe her solo records.

There is aching truth and no little heartbreak in the way she tells herself and us that she could recall a time when she wasn’t afraid to reach out to a friend.

Hide and seek.

Hide and seek.

Carole King’s songs reach out in faith and friendship.

Thinking young and growing older is no sin.

Plaing the game of life to win.

Catch me if you can.

Catch me if you can.

Goin’ Back.

 

Nils Lofgren – Guitar Slinger for the greats.

Neil Young. Bruce Springsteen.

Yet, too often forgotten a very fine artist in his own right.

From his early years with Grin and throughout his solo albums you hear the sound of an extravagantly gifted musician whose greatest gift was the depth of heart he brought to every performance whether on record or on stage.

With Nils Goin’ Back really does become a magic carpet ride.

Catch me if you can.

Catch me if you can.

Goin’ Back.

Happy Highways.

Blue remembered hills.

Shining plain Forever.

Catch me if you can.

Catch me if you can.

I’m Goin’ Back.

Streaming, filled with life through the eye of a needle.

Goin’ Back.

Now, here’s that hidden track you sometimes find when you think the CD/LP has no more gifts to give.

Guitar Gurus Roger McGuinn and Richard Thompson with a 6 string colloquy.

Starry eyed and laughing.

Bright shoots of everlasting ness.

Catch me if you can.

Catch me if you can.

Goin’ Back.

Goin’ Back.

Notes :

Thanks due to Dylan Thomas, Seamus Heaney, Thomas Hood, A E Houseman and Henry Vaughan for their wisdom and inspiration.

Look out for the annual St Patrick’s Parade series of posts starting on Sunday – this year celebrating Mná na hÉireann – The Women of Ireland.

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.

Embed from Getty Images

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).

Embed from Getty Images

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.

Embed from Getty Images

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.

Embed from Getty Images

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.

Embed from Getty Images

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.

The Kinks : Days (Thank You For …)

Here is is.

Another Day.

One Day.

One among the unknown number alloted to you.

Bless the light.

Another sacred day.

Yours to do with what you will.

This Day won’t, can’t come again – though you may remember it for every Day you have left to live.

Bless the Light.

Today is all we have and whatever happens today you have the absolute existential freedom to choose how you act, how your react, to whatever this Day brings.

Bless the light.

And, when you come to the end of this Day you will have much to give thanks for – not least that the lightning bolt of death has stayed sheathed in the heavens.

Give thanks for the day that is done and pray that tomorrow will dawn for you and gift you one more sacred day.

Bless the light.

And, as you walk through the world of your alloted days you will find that the steps of others will from time to time fall in step with yours.

If you are very fortunate you will find that another’s steps will match yours for mile after mile after mile and that if you lose your footing and fall behind they will stay their steps until you catch up.

Thank you for the Days.

I won’t forget a single day believe me.

Bless the light.

There will be guides and spirits along the way who will befriend and show you t e way before going their own way.

On this road of Days you will find that those who once walked so companionably by your side now seem to marched ahead or taken another turn to take them out of sight.

Yet, as you come to give thanks for another Day of your alloted number you can give thanks for the miles you shared and wish them well wherever they are on the highway of their own Days.

The night is dark and sorrow comes to us all so give thanks for the Days you shared.

Thank you for the Days.

Those sacred days.

Bless the light.

Don’t forget a single Day.

A single Day.

 

Another bitter sweet classic from the pen of Ray Davies brought to vivid, shimmering life by The Kinks.

One of the hallmarks of Ray’s greatness as a songwriter is the ability to tell stories distilling complex emotions we all share into endlessly satisfying three minute vignettes which are faithful both the joy and the sadness in our lives.

Ray has acknowledged that a songwriter is frequently, at the time a song is created, unaware of the effect it will have on its audience :

The song has grown in intensity over the years … you don’t think about it, but it’s built up quite a mystique over the years. It certainly left me. It belongs to the world now.’

That’ll do for me as the definition of a great song!

The beauty of the lyric, tenderly evocative but unspecific, is that will be apposite for so many of us in so many times and stations of our lives.

Recollection of those sacred days will always as the days pass have elements of regret.

Loss and sorrow are not to be feared in this world – they come with the territory.

The song starts as an almost busked folk song before building to a tremendous crescendo    as the piano, drums and harmony vocals take the song deep into our hearts.

And, as we will see below, it’s a song that can even surprise its author with its keening power.

In 2010 Ray Davies played the Glastonbury Festival just after the death of Pete Quaife, the Bass player in the original Kinks lineup.

Pete Quaife had quit The Kinks just after ‘Days’ was recorded so playing the song must have had particular resonance for Ray as he looked out on the thronged audience (each of whom will have had their own days to remember and bless as they sang along).

Bless the light.

Thank you for the Days.

Those sacred Days.