Doug Sahm, Garland Jeffreys, ? and the Mysterians : 96 Tears

‘One day Frank started playing a little organ riff and we all really liked it a lot. I kinda came up with the chord riff … then Question Mark said he had words for it … I thought he was just singing off the top of his head.’ (Bobby Balderrama)

The 1960s, as any Baby Boomer will tell you, was the decade when Rock and Pop music peaked.

A tidal wave of creative energy was unleashed which is never likely to be matched.

Pick any week from the Billboard Hot 100 chart from the 1960s and you’ll be near overwhelmed by the number of truly great records you’ll find (and the memories they’ll generate).

Competition was fierce.

So, to ascend to the coveted Number One spot was a real achievement.

Take the top 5 for the last week in October 1966.

Pure Pop for Now people from The Monkees with, ‘Last Train to Clarkesville’.

A deep Soul cry (from the Ghetto, from the battlefields of Vietnam, from a tragic Lover’s heart) roared out by The Four Tops with, ‘Reach Out, I’ll Be There’.

An aching morality tale from Johnny Rivers with, ‘Poor Side of Town’ (previously featured here on The Jukebox).

An unfathomably deep, nay eternal, Pop Classic from 16 year old Michael Brown and The Left Banke with, ‘Walk Away Renee’ (also featured on The Jukebox).

Phew!

What record could possibly have kept those masterworks from the very summit of the charts?

Well, a record cut by a bunch of unknown Mexican-American teenagers from Michigan, with a lead singer known only by the ? symbol (where do you think Prince got the idea!) that will thrill the soul as long as there is electricity or some other means to power a Jukebox!

Too many teardrops for one heart to be crying!

Too many teardrops for one heart to carry on!

You’re gonna cry 96 tears!

You’re gonna cry 96 tears!

 

 

Watch Out Now!

Watch Out Now!

Cuidado Ahora!

Cuidado Ahora!

So, you take an insanely catchy organ riff, played on a Vox Continental or a Farfisa Combo Compact depending on which authority you believe, an increasingly crazed vocal extolling the sheer delight of anticipated romantic revenge (and who hasn’t felt that in their life?) a tempo that locks your attention in and you’ve got yourself a monster Hit!

This is Punk before Punk.

This is a wonderfully grimy garage classic just reeking of the greasepit.

This is a voodoo Mexican Folk Ballad.

This is pure unadulterated Rock ‘n’ Roll.

96 Tears lasts less than 3 minutes playing time.

Yet, I guarantee that everyone who hears it is chanting out:

’You’re gonna cry 96 Tears, You’re Gonna Cry 96 Tears, You’re gonna cry, cry, cry now’

with infinite gusto long before the 3 minutes has elapsed.

The definitive organ riff came from Frank Rodriguez who was all of 13 when 96 Tears was recorded in the Spring of 1966.

The guitarist was founding Mysterian Bobby Balderrama.

Eddie Serrano sat on the Drum Stool.

Bass was played by Fernando Aguilar.

The signature vocal was by the one and only hyper imaginative Question Mark ? 

GIven his determination to be known by this name alone I’ve resolved to use only this name throughout.

The Mysterians all came from families that had followed the lure of employment and the Dollar Bill from Mexico taking in fruit picking before securing jobs in the Michigan Auto Plants.

They started out playing instrumentals in the dramatic style of Duane Eddy and Link Wray. When the British Invasion hit and as they watched Shindig and American Bandstand they realised they had to have a dynamic lead singer and that a powerful organ sound hit home every time.

Once Frank came up with the immortal riff they approached Lilly Gonzalez, a luminary of the local Mexican community, who found them a small recording studio and pressed up 500 copies of 96 Tears on her own Pa-Go-Go label.

The song was then take  up by a relay of Radio Stations until demand became so great that Cameo Parkway took over and drove the single all the way to Number One!

My favourite moment in the song is the line where Question Mark ? momentarily pauses for breath before slamming home the killer line:

’And when the sun comes up I’ll be on top – You’ll be right down there looking up’.

Take that!

Now, it is a truth universally to be acknowledged that all Jukeboxes are in want of a Record which will get everyone onto their feet to dance furiously while rattling the walls and windows shouting out the chorus.

I think we can all agree that 96 Tears absolutely fulfils this need.

Which is why 96 Tears must take its place on The Immortal Jukebox as (what else) A 96.

Now, once such a Record is issued all over this wicked world gangs of young musicians hear it and think, ‘That will suit us very nicely indeed’.

The lead singer gets ready to hyperventilate and the organist thinks – they think they know how the organ goes on this one but they haven’t heard my version yet!

If they’re not in possession of an organ, Vox or Farfisa, the guitarist thinks – I’m gonna tear this one up so completely that no one will even remember there was an organ on the original.

Watch Out Now!

Watch Out Now!

Cuidad Ahora!

Cuidad Ahora!

A true message always gets through.

So, in 1976, frequenting London’s The Nashville and 100 Club venues I encountered a testosterone topped up the max outfit called Eddie and the Hot Rods who went full pelt at songs like, ‘Gloria’ and, ‘Get Out of Denver’ before thrashing the life out of 96 Tears.

Here’s their, ‘Live at The Marquee’ version from 1976 – I think I may have lost a few pounds while this one played and needed to sink a fair few pints to restore balance.

Such is Youth (and Thank God for it!)

The message certainly got through to Brooklyn.

That’s where Garland Jeffreys grew up listening to every style of music with a keen ear and  the determination to meld these styles together in his own songwriting and performances.

Garland Jeffreys is one of those secret heroes of music whose prominent influence and regard among musicians is in stark contrast to his stature among the general record buying public.

Be assured The Jukebox will feature a  considered tribute to him later.

For now let’s enjoy his distinctive take on 96 Tears.

The Band really got their groove happening here!

 

A true message always gets through.

And there was no more true hearted custodian of American Music than Doug Sahm – who is always warmly welcomed at The Jukebox.

Whenever Doug got together with Freddie Fender,  Augie Myers and Flaco Jimenez the music flowed and everybody got to have a glorious party.

Let’s take 96 Tears down South to Texas with Doug and his faithful compadres.

They sure shake the flavour all over every one of those 96 Tears!

Too many teardrops for one heart to be crying.

Too many teardrops for one heart to carry on.

Oh, oh, oh, believe me, when the sun comes up …

You’re Gonna cry 96 Tears.

Youre gonna cry 96 Tears.

96 Tears.

96 Tears.

I’m gonna  count every one.

Every single one.

96 Tears.

96 Tears.

 

 

Notes :

? and The Mysterains predictably fell foul of Music Biz moguls which resulted in long drawn out litigation, inadequate financial reward and a very messy discography.

However, there is a now a substantial collection of their Cameo Parkway material which amply demonstrates they were far more than one hit wonders.

Other versions to look out for are by:

Big Maybelle

Thelma Houston

Suicide

David Byrne & Richard Thompson

The Stranglers

Jonathan Richman and The Modern Lovers.

The Kinks, The Pretenders (and more!) : Stop Your Sobbing

The Kinks debut LP was rush released in October 1964 to capitalise on the enormous success of their third single, ‘You Really Got Me’ which shot to Number 1 in the UK Charts in mid September before hitting the Top 10 in the U.S.A.

You Really Got Me is the standout track from the LP.

Of course it bears saying that it was also one of the greatest and most influential recordings of the 1960s.

It exploded into the consciousness of listeners and fellow musicians all over the globe searing synapses with its astounding energy.

Dave Davies’ guitar solo, a product of fire and fury and a slashed little green amp, remains one of the most seismic ever recorded.

The Kinks couldn’t match the intensity of that performance on the other 13 tracks that made up, ‘The Kinks’.

Lightning is not caught in a botte to order.

11 of the other cuts on the LP are covers of Rock ‘n’ Roll and R&B classics from the likes of Chuck Berry, Bo Diddley and Slim Harpo.

The Kinks approach to these songs is not that of knowing reverential devotees like The Rolling Stones.

Rather,  The Kinks come at these songs slant wise and when their feral energy locks in the results can be tremendously exciting.

But, as Ray Davies knew in his bones, the core of his and The Kinks creative energy was an amalgam of his (correct) sense that he was not like everybody else and thus an ideal observer of the world around him coupled with deep fraternal harmony only exceeded by fierce fraternal dischord.

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The Kinks and Ray Davies in particular didn’t dream of being American.

Though they loved American Music and were inspired by it they sensed their own songs, if they were to have authenticity and authority, would have to be reflective of their own lives – reflecting Muswell Hill rather than Blueberry Hill.

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The song on that debut record that demonstrated that Ray Davies and The Kinks could convey nuanced emotions and beguile an audience,  as well as exhaust them,  was the only other Ray Davies original present, ‘Stop Your Sobbing’.

 

 

Pure Pop for Now People!

Well … Pure Pop in the fragile melody and tremulous arrangement.

Pure Pop in the way Rasa Davies’ ghostly backing vocals shadow Ray’s lead.

Pure Pop in the way Dave Davies’ chiming guitar rhymes with our hearts as the song progresses.

Pure Pop in the way Pete Quaife and Mick Avory unobtrusively hold everything together.

But, but .. not so Pure in the emotional nuances of Ray Davies’ lyric and vocal.

Is he appalled by all the sobbing?

Or is he fascinated?

Does the sobbing turn him off or turn him on?

Is he a mixed up, frustrated, Lover or a disinterested observer carefully recording how the emotions play out?

Remember this is Ray Davies –  a man of passion who is also a man of reflection and contemplation.

A Lover who can’t stop being a Loner.

A writer who has that chip of ice in the heart that tells him, whatever the situation, to observe and record.

Observe, record and remember.

There’s a Song in this. There’s a Song in this.

Ray Davies never was and never will be just like everybody else.

And,  savvy songwriters with a sense of the history of  Pop songwriting  know that Ray Davies is a master of the craft.

A savvy songwriter like Chrissie Hynde who wanted the world to know she was special. That there was nobody else here and now like her.

She just had to have our attention and she was going to use all her resources to make sure she got it.

Most of all she was going to draw upon the deep well of her imagination.

An imagination that could relish the role reversal of a sassy woman singing, ‘Stop Your Sobbing’ and singing the hell out of it.

 

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Singing with the seductive charm of oh, oh,  won’t you be my baby, Ronnie Spector.

Singing with the, you sure gotta lot of gall,  dismissiveness of Bob Dylan.

Singing with the,  Oh No, no, no, no, no,  dramatic soliloquy intensity, of The Shagri Las’ Mary Weiss.

Singing so our attention is immediately captured and never released.

Singing that inspired highly imaginative guitar playing from James Honeyman-Scott.

Nick Lowe produced The Pretenders version of Stop Your Sobbing in late 1979 but amazingly he thought they ‘were going nowhere’ and stepped away.

Nick, Nick, Nick – you got that one one Wrong!

The Pretenders proved to be unstoppable Hit Makers.

They had Style and they had Swagger and big time success with a Songwriter and Singer like Chrisie Hynde was guaranteed.

 

 

Now, if we are trawling the annals of  modern songwriting for the, ‘Not like everybody else’ category there’s one thing we gotta do – call up the unique sensibility of Jonathan Richman!

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Checkout Jonathan’s crazy campfire singalong version!

Get groovin’ to that addictive rhythm!

You can’t listen to Jonathan,when he’s in this kind of form, and not feel wonderfully refreshed and cheered

 

 

Another Songwriter with style and imagination, Pete Yorn, found, ‘Stop Your Sobbing’ getting under the skin.

I’ll leave you with a charmingly understated vocal duet version featuring Scarlett Johansson.

 

 

Their smiles at the end say it all.

Ray Davies recorded Stop Your Sobbing more than half a Century ago.

I think its good for another 50 years at least.

Jimmy Cliff : Many Rivers To Cross

The Immortal Jukebox A 30

‘I never get tired of singing Many Rivers to Cross, and you know why? .. ‘cause I still have many rivers to cross. They’re just different rivers.’ (Jimmy Cliff)

Many rivers to cross.

Many rivers to cross.

Just can’t seem to find our way over.

We are haunted by Waters.

Rivers flow through our imaginations.

As Rivers thirst for the Sea so we thirst for the sound of running water.

There is balm and there is healing in the sound of a flowing River.

The sound and the sight of The River invites movement towards the future.

Which surely lie somewhere downriver.

Downriver.

When you’re lost as you travel along if you can find The River you know you can find your way home or to your new destination.

When only your will keeps you alive stand by The River and resolve to carry on – to cross over and be born again in cool water.

Cross The Rubicon.

Cross The Delaware

Cross The Euphrates.

Cross The Volga.

Cross The Murray.

Cross The Nile, The Niger and The Congo.

Cross The Mackenzie, The Mekong, The Missouri and The Mississippi.

Cross The Lena and The Laune.

Cross The Brahmaputra, The Besós and The Brazos.

Cross The Thames, The Tiber and The Tyne.

Cross The Rhine and The Rhône.

Cross The Rappahannock, The Rio Grande and The Red.

Cross The Acheron, The Lethe and The Styx.

Wade across The Jordan.

Each River has its own song.

And, each of us hears different songs as we listen to The River.

We are all travelling from the Source to The Sea.

Oh, we really don’t know why.

We don’t know why.

But, I guess we have to try.

Have to try.

To cross over.

To Cross Over.

 

 

Jimmy Cliff has A Voice.

A Voice.

In the way that Sam Cooke has A Voice.

In the way that Nina Simone has A Voice.

In the way Ray Charles has A Voice.

In the way Van Morrison had A Voice.

It’s A Voice that once heard never leaves you.

A Voice that seems immediately familiar to you yet always capable of making you catch your breathe in surprise at its glory.

A Voice that has the authority of a River in full flow.

A Voice that you find yourself harmonising with in your head as the years and tears flow by.

A Voice that speaks truth about the trials of Life.

A Voice you’ll find yourself turning to when it seems Life has got you licked.

A Voice you’ll cling to when all around, including yourself, call you washed up.

A Voice that will whisper to you in the friendless Night.

A Voice that the lonely know knows loneliness too.

A Voice that will be a guiding Star in the heavens when you’re lost and wandering far from The River.

A Voice that will help you hold on, survive, until you’re ready to stand by The River again.

A Voice that will help you cross the many Rivers you’ll have to cross in Life.

So many Rivers to cross.

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Jimmy Cliff was a teenage star of the Jamaican Ska and Rocksteady scenes.

In addition to his obvious talents as a singer he soon showed himself to be a songwriter who had the rare ability to create songs that had the mysterious power and longevity of fables.

Songs like The Harder They Come and You Can Get It If You Really Want are instantly memorable while having a core of wisdom that comes from folk memory that chimes with our immediate lived experience.

Yet, Many Rivers To Cross has an extra dimension.

It’s a song written by a young man with an old Soul.

It speaks to our many defeats yet holds out Hope that these defeats are not final or eternal.

We are born by a River in our little tents and of course we’ve been running ever since.

Ever since.

Running towards Rivet after River after River.

We all have to cross so many Rivers.

It can be a long, long journey from the Source to the Sea.

So many Rivers to cross.

There is redemption and blessing in crossing over The River.

Keep your eyes on the farther ashore and trust that you’ll cross over.

Cross Over.

 

 

Notes :

Jimmy Cliff’s ‘Greatest Hits’ should have an honoured place in every collection.

These days I often find myself reaching for his  glorious collection from 2012 ‘Rebirth’ which has deeply affecting songs of dignity and grace.

Slim Harpo : The King Bee – Swamp Blues Superstar!

Sometimes ersatz just won’t do.

No. No. No.

Today you need the pure drop.

The real thing.

Taste and texture.

Something with the Kick that ignites your senses and gets your heart pumping fit to bust right through your ribs.

Low down Swamp Blues out of Louisiana.

Today, right this very minute, you want, hell, you need, some vintage Slim Harpo.

That’ll flat out do the job!

 

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Let’s Buzz a while!

 

Sting it then!

 

 

Slim Harpo. Slim Harpo.

Sleepy vocals and insistent, buzzing, stinging, right inside your mind Harmonica.

I sometimes debate which debut single might be said to be the greatest of all time and, of course,  never reach a settled decision.

But, always, always, high in contention is Slim Harpo’s ‘ epochal debut ‘King Bee/I Got Love If You Want It’ from 1957 on Excello Records.

Produced by the Sultan Of The Swamps J. D. ‘Jay’ Miller in his Crowley Lousiana Studio.

Guitar Gable on the stinging Guitar, John ‘Fats’ Perrodin on Bass and Clarence ‘Jockey’ Étienne on the Drums –  collectively the Musical Kings.

Incredibly ‘King Bee’ was the B Side .. but once heard, especially when blasting out of a Juke Joint Juke Box it is, no doubt about it, an Alpha A Side!

King Bee has the perfect combination of musical economy and impact wholly characteristic of Slim Harpo’s entire career.

In record after record he came up with winning vocals and melodies, memorable lyrics, and addictive instrumental instrumental interludes – all in under three minutes!

No wonder his records were Juke Box classics all over the South.

Slim Harpo, enormously aided by the ambience created by J D Miller, managed to cram everything essential to produce a great record into his sound and cut out everything else.

So his records cast a spell and have you coming back again and again in search of the secret of their allure.

For me, in addition to the hypnotic overall sound on King Bee it’s the moment when Slim drawls ‘Well’ before adding with a mixture of masculine menace and charm – ‘Buzz a while … sting it then’.

I’m sure it was a rare barfly who didn’t imagine himself one hell of a buzzing, stinging King Bee when this one came blasting out of the Jukebox.

Mick Jagger and all The Rolling Stones were certainly stung by the sound.

On their debut album the first track on Side 2 is none other than a faithful take on King Bee – though it would be many years before The Stones would be able, on record, to come anywhere near the relaxed authority of Slim Harpo’s sound.

Slim Harpo’s sound and pared down songs because they effortlessly combined so many Blues, Country and Swamp Pop elements proved enormously attractive to a multi racial audience at home and to neophyte Bluesmen in Britain.

Virtually every Group you might hear in The Marquee or on Eel Pie Island had a Slim Harpo Song in their set.

The Kinks before Ray Davies emerged as one of the great original Songwriters mined Slim’s catalogue and came up with a creditable version of, ‘I Got Love If You Want It’.

Of  course, it’s not a patch on the original!

 

 

You got the rock ‘til your back ain’t go no bone rhythm.

You got the teasing vocal and the seductive Harmonica.

You got the I can’t believe it’s finished – I’ll have to cue it up again at once economy.

You got a great Slim Harpo Record.

Though King Bee had a big impact on fellow musicians and musica aficionados it didn’t set the cash registers ringing madly.

For that Slim, who was never a 7 days a week full time musician, had to wait until 1961 when he came up with a Song that just won everybody over – ‘Rainin’ In My Heart’.

Deservedly Top 20 R & B and Top 40 Pop In the Billboard Charts.

By now Slim’s Band had Rudy Richard on Guitar, James Johnson on Bass and Jesse Kinchen on Drums – and it’s hard when you hear them play to imagine you could ever find yourself a better Saturday Night Out Band to laugh and love and drink to!

All such Bands need a romantic swooner and they don’t come more romantically swooning than Rainin’ In My Heart.

I’ve seen fabulous live versions of this one by The Fabulous Thunderbirds and Van Morrison (the latter rarely outdone on swoon when he has a yen for it).

Van has an encyclopaedic knowledge of all aspects of The Blues and is no mean Harmonica player so it was no surprise that with Them he cut a dynamite version of Slim Harpo’s, ‘Don’t Start Crying Now’.

 

Now, Lordy Mama, ain’t that a blast!

From the first instant the Band lock in and you’re barrelling down the tracks until you hit the buffers less than three minutes later.

Nothing to do but get back on the train and set off again!

Slim Harpo’s biggest Hit came in 1965 with the scorching, ‘Scratch My Back’.

Get To It!

 

Seductive, Slinky, Sexy as all get out, aah Scratch My Back.

Scratch My Back.

Nothing as satisfying as an Itch that gets well and truly scratched!

Remember when I said what a great Saturday Night Band Slim Harpo had?

Well, well, well, here’s the ultimate proof.

If, ‘Shake Your Hips’ doesn’t get you up and out on the Dancefloor there’s just no hope for you.

No Hope at all.

This is pure Voodoo.

Pure Voodoo!

 

The Rolling Stones were ready to do justice to Slim’s Sound when they recorded this on their magnificent 1972 Double Album, ‘Exile On Main Street’.

Slim Harpo died, tragically young at 46, in 1970, just as he was about to tour Europe for the first time – where he would surely have been received as the Music Hero he was.

Slim Harpo Records define Swamp Blues and I will never tire of listening to The King Bee.

I’m stung every time.

I’ll leave you with a valedictory ballad that cuts like a scalpel to the heart.

Oh Slim, you sure were a Good Thing.

A very Good Thing indeed.

 

 

Notes :

I thoroughly recommend ‘Buzzin’ The Blues’ Bear Family’s encyclopaedic set of Slim Harpo’s recorded career which includes a wonderful live show from 1961.

Thanks due to Dave Emlen from kindakinks.com for pointing readers of his excellent site in this direction!

Randy Newman : I Think It’s Going To Rain Today

Some days, some nights, Life can be a struggle.

Seems like Easy is getting Harder every day.

Every day.

High water rising everywhere.

Everywhere.

All the hedges blown down – strewn along the road.

You come naked and crying into the world and that’s how you’ll go out.

You inherit a world of trouble.

Flames rise up to scorch the sky.

Every morning you wonder how you’ll get through the hours until the darkness comes and you can somehow sleep.

Every night you wonder how you’ll get through the hours until you can find the energy to face the light for another day.

Nothing to be done.

Seems like your soul has hardened to steel.

Pale dead Moon.

Not even the murmur of a prayer.

Pink, pink, pink. pink Moon.

Ravens blackening the sky.

High water everywhere.

Scarecrows dressed in the latest styles.

Nothing at the end of the rainbow.

All the women came and went.

Not even the murmur of a prayer.

Two riders.

High water everywhere.

Going down three times.

Coming up twice.

I think it’s going to rain today.

You must say words as long as there are any.

Must go on.

Can’t go on.

Go on.

I  think it’s going to rain today.

 

 

 

Roxy Music : Love Is The Drug

It’s almost Saturday Night.

Almost.

Almost.

Just a few more hours here at Bainbridge’s adding up rows and rows and rows of accounts.

A few more hours staring out the window watching the sky darken.

Waiting for The Moon to light up the Dark.

Waiting for The Stars to dazzle my eyes.

This Saturday Night is going to be My Night.

My Night.

Make sure I get dressed to impress.

Fred Perry. Sta Press. Barracuta G9. Chelsea Boots.

Haute Rouge fragrance.

Time to establish the Mood.

Light up a Disque Bleu and contemplate the posters of Francoise Hardy, Monica Vitti and Steve McQueen.

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Leaf through the latest ‘Salut les copains’

Now for some Sounds!

Start out with Miles Davis, ‘Kind Of Blue’.

Now that is Cool, Cool, Cool.

Gonna Dance Tonight.

Dance, Dance, Dance.

Betty Everett, ‘Getting Mighty Crowded’.

Major Lance, ‘The Monkey Time’.

Maxine Brown, ‘Oh No Not My Baby’.

Roy Head, ‘Treat Her Right’.

Jimmy Radcliffe, ‘Long After Tonight Is Over’.

I can feel the Glow.

One last look in the mirror – Perfect!

Fire up the Super Sprint 90.

Saturday Night.

The Town will be throbbing.

Throbbing.

Where are am I headed tonight?

Where will the Faces be?

La Dolce Vita? The Downbeat?

The Oxford? or The Cavendish?

First off, I’m going to ride the Super Sprint right up to the door of Club A ‘Gogo and announce my arrival on the scene!

Here I am! Here I am!

Young, Free and Single.

Time IS on my side.

It ain’t no big thing the toll of the bell.

Look Out Girls!

Oh, Oh, Oh, catch that Buzz.

Catch that Buzz.

Love is the drug I’m thinking of.

Love is the drug and I need to score!

Love is the drug for me.

 

 

Now that is a record that would get anyone well and truly hooked!

Roxy Music In Ecelsis!

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From the very first moment with the footstep and car door opening sound effects you just know you’re about to set off on a thrilling trip.

Jon Gustafson comes in with that heart jolting, adrenaline laced, bass line and you will barely draw breathe again until the fade out – swept along by the instrumental brilliance of the ensemble, the crisp, crystal clear production of Chris Thomas and the knowing seductive vocal Bryan Ferry gives to his superbly sketched narrative.

Gustafson was a veteran of the British Beat scene having been a member of The Big Three who were lions of the Cavern in Liverpool with everybody including The Beatles grooving along to their cover of Richard Barrett’s ‘Some Other Guy’.

He went on to play with The Merseybeats and The Pirates as well as numerous studio gigs.

However, his lasting glory will surely be the three albums he played on with Roxy Music and in particular the fantastic propulsive drive his bass line gives to Love Is The Drug (I’m sure Nile Rodgers of Chic felt it in his boots!).

The ‘secret hero’ of all Roxy Music Records is, of course, Paul Thompson, a Drummer whose complete mastery of tempo gave the Band a rock solid foundation that allowed Roxy’s ‘Exotics’ – Bryan Ferry, guitarist Phil Manzanera, Saxman Andy Mackay and Keyboard wizard Eddie Jobson the freedom to be theatrically inventive.

Phil Manzanera’s highly accomplished guitar playing draws on his love of Latin American rhythms and the angularity of English Art Rock. Add to this his technical command of his instrument and his musical intelligence and you have the ideal guitarist for a Band performing musically and emotionally complex songs.

Eddie Jobson was the boy wonder Keyboard player whose musical felicity gave him the smarts to add shade, colour and dramatic sophistication to the kaleidoscopic gallery of moods conjured up by Bryan Ferry’s lyrics.

Andy Mackay was always a key figure in Roxy Music giving them a depth and breadth of sound marking them out from their contemporaries.

In this song you can feel the red lights, the bated breath and the heat of nocturnal anticipation in his playing.

His saxophone and woodwind contributions were always integral to the overall conception of the unique Roxy Music sonic palette.

In fact, Love Is The Drug began as a Mackay instrumental. It was worked up in Air Studios with each additional player’s contributions making the track more and more irresistible with Chris Thomas at the desk insisting on take after take until it was practically perfect.

Only one further element was needed for a sure fire hit!

Namely, a winning lyric and vocal.

Enter, Bryan Ferry.

Bryan was known to try the patience of his colleagues by obsessively working on his lyrics – drafts after draft after draft being reworked until the seam of pure gold was revealed.

Andy Mackay recalls that he sometimes appeared like a Conjuror keeping the audience breathless until, magically, he pulled the veritable rabbit out of his silk Top Hat!

When he settled himself at the microphone to sing, ‘Love Is The Drug’ for the first time his weary Bandmates were amazed and thrilled.

To a man they knew this would be a massive, unstoppable hit which would take their career to another level.

Bryan tells his story with economy and wit.

It’s a story we’ve all surely been part of in our youth so we can recognise the accuracy of the tale and smile at our own recollections of when we were the key dramatis personae.

Boy meets girl where the beat goes on.

Face to face, Toe to toe.

Hearts pounding as heart to heart they hit the floor.

The stumble round, the hoped for locked embrace.

Catch that Buzz.

One says Go … the other says Yes.

Oh, Oh, Oh, Oh ….

Well, dim the lights and you can guess the rest!

Bryan Ferry’s lyric is a model of economy and wit deftly deploying alliteration, assonance and rhyme to beguile our senses.

Love Is The Drug has remained a fixture at Roxy Music and Bryan Ferry shows from 1975 to this day.

Simply put it’s a classic that will never fail.

I’ll leave you with a scorching live version from  2001.

I guarantee this song will still sound great on the bases of The Moon and Mars in 3001.

Can’t you see.

Oh, Oh, Oh, Oh, Love Is The Drug.

Love Is The Drug.

 

Sandy Denny : Who Knows Where The Time Goes

 

Darkness.  Darkness.  Darkness.

Silence.  Stillness.  Stasis.

BANG!

Light.  Space.  Time.

Travelling towards Darkness again.

Love the Light.

Love the Light.

Treasure the Time.

Treasure the Time.

Who knows where the Time goes.

It’s not dark yet. But it’s getting there.

Across the evening sky all the birds are leaving.

Who knows where the time goes

Who knows where the time goes.

If I ventured in the slipstream.

The bloom hung along the bough.

Each Spring a miracle.

How many more?

How many more?

Love the Light.

Love the Light.

Treasure the Time.

Treasure the Time.

It’s not dark yet – but it’s getting there.

Who knows where the time goes.

Kids out in the street collecting bottle tops.

Dry your eye. Say Goodbye. Wonder why.

Nothing but a stranger in this World.

At my back I hear …

Sad deserted Shore.

Who knows where the Time goes.

Who knows where the Time goes.

 

Soft sift in an Hourglass.

Soft sift.

Come the storms of Winter.

The days are hastening on.

Hastening on.

Love the Light.

Love the Light.

Treasure the Time.

Treasure the Time.

Who knows where the Time goes.

 

In the beginning was the Word.

Through a glass darkly.

Now and at the hour of our death.

Now and at the hour of our death.

Is now and ever shall be.

Is now and ever shall be.

Love the Light.

Love the Light.

Treasure the Time.

Treasure the Time.

It’s not dark yet – but it’s getting there.

Before the Winter fire.

The swift flight of the Sparrow.

The swift flight of the Sparrow.

Ye know not when the Time Is.

Who knows where the Time goes.

Who knows where the Time goes.

 

Notes :

Who Knows Where The Time Goes was the second song Sandy Denny ever wrote.

It will outlast The Pyramids.

The first version featured here is the classic version to be found on the Fairport Convention     Album, ‘Unhalfbricking’ from 1969.

This is one of those recordings that has a magic which cannot be analysed only surrendered to.

Sandy’s vocal and Richard Thompson’s Guitar outshine the stars.

The second version is a searching solo version for the John Peel radio show.

The third version was recorded during Sandy’s brief tenure with The Strawbs.

It has a tremulous charm that will never leave you once heard.

In writing this Post I found myself crafting a patchwork quilt of poems, prayers and songs that called out to me as I listened to, ‘Who Knows Where The Time Goes’.

So proper acknowledgement should be offered to:

The King James Bible, The Venerable Bede, A E Houseman, Gerard Manley Hopkins, Andrew Marvell, Bob Dylan and Van Morrison.

The first image that appeared was that of ‘The Flight of The Sparrow’ from Bede’s  great work, History of The English People’ – a Book that is one of the glories of Civilisation.

I recently completed a once every 40 years ‘thinning out’ of my bookshelves with some 800 volumes sent to my favourite Charity.

I still kept 3 editions of Bede.

Through the wonders of the Internet I found this reading in Old English which now echoes in my mind.

Across the Centuries there is a telling here about the mysteries of  life and time that still calls out to us today.