Ian Dury & The Blockheads : Reasons to be Cheerful (Part 3)

For most of last week as I took my early morning walk up the Ridge Top I all but vanished into an all encompassing Fog.

Confident in the way I have trod so often and leaning on my staff I pressed on.

I love the wreathing silence of the Fog and the air’s damp embrace.

High above the hidden sun would surely appear and the Fog would withdraw as silently as it advanced.

Descending, I met one of the local Farmers who said as he looked askance at the Fog and me – ‘Reasons to be Cheerful – Eh?’.

He was not a little taken aback when instead of responding with a pat motto I launched into the opening of Ian Dury’s late 70s leery litany of Reasons to be Cheerful;

‘Some of Buddy Holly, the working folly, Good Golly Miss Molly and boats!’

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‘Working folly is right enough, right enough! says he.

From the early, early mornin’ to the early, early night says I.

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And, as I bad him farewell I vanished back into the Fog my voice ebbing away singing:

‘Hammersmith Palais, the Bolshoi Ballet, Jump back in the alley and nanny goats!’

Let’s cede to Ian Dury now in his persona of part pirate king, part fairground carney, part ‘ain’t he awful’ top of the bill music hall maestro and all around diamond geezer leading his magnificent troupe of musicians The Blockheads in a proper celebration of the oh so many reasons to be Cheerful.

One, Two, Three ….

 

OY, OY ! OY, OY!

Ian Dury truly was a diamond geezer.

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Diamond like in the brilliance of his mind and talent as a lyricist and performer but also diamond like in the hardness of his resolve and the sharpness with which he could slice apart the ego of anyone foolish enough to imagine they could out banter him.

He could, according to his mood and alcohol intake, be the most brilliant raconteur and most charming man you could ever hope to meet or a manipulative demon searching out weaknesses with laser like focus.

Surviving Polio from childhood and the mental, emotional and physical savagery of subsequent boarding school left an enduring mark on his soul.

He was saved through his innate toughness, his intelligence and sharp wit.

Exposure to the discipline of a Painter’s necessary painstaking observation at Art School and the riotous anarchy of 50s Rock ‘n’ Roll informed an aesthetic credo which also took in the craftsmanship of Cole Porter, the rumbustious energy of Charles Mingus, the end of the pier vulgarity of Max Miller and the surreal style of Max Wall.

All carried off with a uniquely English ribald humour and brio.

The songs were the product of rich talent and the long labours of a true craftsman always searching for the exact word, the proper rhythm.

Some have said that, ‘Reasons ..’ is merely a shopping list song – well as Ian Dury observed, ‘You try writing one then!’.

Cole Porter wrote one in, ‘You’re the Top’ and there’s no doubt in my mind that Ian Dury would fit right into that song’s list of exemplary excellence along with Napoleon Brandy, Mahatma Gandhi, the Mona Lisa and Mickey Mouse!

Of course his undoubted genius as a lyricist needed The Blockheads for the songs to take flight in the studio and on stage.

The most important figure here was Chaz Jankel whose melodic inventiveness and rhythmic assurance made for irresistible songs that permanently branded themselves into the imagination and heart of the listener.

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Norman Watt Roy, Charely Charles and Davey Payne had the magical ability to meld the sound of Memphis Soul, English Music Hall and Free Jazz into a seamless funky whole.

And, with Ian as the louche and lecherous ringmaster centre stage they were an enthralling  live band seemingly inexhaustibly inventive and endlessly committed to maintaining a groove that just wouldn’t quit.

One, Two, Three …

Why don’t you get back into bed
Why don’t you get back into bed
Why don’t you get back into bed
Why don’t you get back into bed
Why don’t you get back into bed
Why don’t you get back into bed
Why don’t you get back into bed
Why don’t you get back into bed
Why don’t you get back into bed
Why don’t you get back into bed
 
Reasons to be cheerful part 3
1 2 3
Some of Buddy Holly, the working folly
Good golly Miss Molly and boats
Hammersmith Palais, the Bolshoi Ballet
Jump back in the alley and nanny goats
 
18-wheeler Scammels, Domenecker camels
All other mammals plus equal votes
Seeing Piccadilly, Fanny Smith and Willy
Being rather silly, and porridge oats
 
A bit of grin and bear it, a bit of come and share it
You’re welcome, we can spare it – yellow socks
Too short to be haughty, too nutty to be naughty
Going on 40 – no electric shocks
 
The juice of the carrot, the smile of the parrot
A little drop of claret – anything that rocks
Elvis and Scotty, days when I ain’t spotty,
Sitting on the potty – curing smallpox
 
Reasons to be cheerful part 3
Reasons to be cheerful part 3
Reasons to be cheerful part 3
Reasons to be cheerful part 3
1 2 3
 
Reasons to be cheerful part 3
Health service glasses
Gigolos and brasses
Round or skinny bottoms
 
Take your mum to Paris
Lighting up the chalice
Wee Willy Harris
Bantu Stephen Biko, listening to Rico
Harpo, Groucho, Chico
 
Cheddar cheese and pickle, the Vincent motorsickle
Slap and tickle
Woody Allen, Dali, Dimitri and Pasquale
Balabalabala and Volare
Something nice to study, phoning up a buddy
Being in my nuddy
 
Saying okey-dokey, Sing Along With Smokey
Coming out of chokey
John Coltrane’s soprano, Adi Celentano
Bonar Colleano
 
Reasons to be cheerful part 3
Reasons to be cheerful part 3
Reasons to be cheerful part 3
Reasons to be cheerful part 3
1 2 3
 
Yes yes
Dear dear
Perhaps next year
Or maybe even never
In which case
 
Reasons to be cheerful part 3
Reasons to be cheerful part 3
Reasons to be cheerful part 3
Reasons to be cheerful part 3
1:2,3
 
Reasons to be cheerful part 3
Reasons to be cheerful part 3
Reasons to be cheerful part 3
Reasons to be Cheerful – 1,2,3.

 

 

And, as a homage from me to Ian, here’s some further Reasons to be Cheerful (Part 4) :

Shredded Wheat and Did those feet …. Jimmy Greaves and Bicycle Thieves …

All of Buddy Holly – two cones and a Lolly ….

Red Socks and grandfather clocks … The Ragman’s Daughter and a pint of Porter ..

Sons and Lovers and a Four through the covers …

Beckett Sam and Blueberry Jam .. Ginger Rogers and the Brooklyn Dodgers ..

Dave Mackay and The Sheltering Sky .. Winterreise and a bottle of Tizer ..

A Citroen DS and The Orient Express .. Gerard Manley and Holloway Stanley ..

Ulysses S Grant and seeing things aslant … Redwing Boots and Pressure Drop Toots ..

Montgomery Clift and the Berlin Airlift … Martin and Vincent … Redgrave and Pinsent.

Reasons to be Cheerful.

Reasons to be Cheerful.

Notes :

I decided not to provide an annotated listeners guide here for Ian’s references and my own.  See what Mr Google tells you and you’ll learn a lot!

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 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!

 

Creedence Clearwater Revival : Bad Moon Rising

‘Creedence were never the hippest Band in the world – but they were the best!’ (Bruce Springsteen).

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‘I know that buried deep inside me are all these little bits and pieces of Americana. It’s deep in my heart, deep in my soul.’ (John Fogerty)

 

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Gutta cavat lapidem non vi sed saepe cadendo.

A water drop hollows a stone – not by force but by falling often.

Or, if you want to really master a craft you need to put in the hours.

Consider The Beatles in Hamburg forgoing sleep and comfort to play set after set until they were a band that had deep trust in each other and their abilitiy to hold and move an audience.

Consider, today, Creedence Clearwater Revival.

In 1969/1970/1971 there was no doubt who the top singles Band in the World were; how’s this for a sequence of classics:

Proud Mary/Born on the Bayou,

Bad Moon Rising/Lodi,

Green River/Commotion,

Down on the Corner/Fortunate Son,

It Came Out of the Sky/Cottonfields,

Travelin’ Band/Who’ll Stop the Rain?,

Run Through the Jungle/Up Around the Bend,

Lookin’ Out My Back Door/Long As I Can See the Light,

Have You Ever Seen the Rain/Hey Tonight.

Yowza! Yowza! Yowza!

Boy Howdy!

That’s a streak of inspiration and connection with your audience on a par with Chuck Berry or Lennon & McCartney at their peak.

Their omnipresence on the radio and on the charts was the result of years and years of unheralded toil.

Their emergence on the national and world stage only came after a full decade of slogging up and down the Pacific Coast, round the punishing circuit of military bases, small town clubs and dingy dance halls following their formation by Tom Fogerty in 1959 as The Blue Velvets.

Thousand of miles and thousands of hours binding Tom Fogerty, Stu Cook, Doug Clifford and John Fogerty together into a potent Rock ‘n’ Roll force.

Stu Cook and Doug Clifford forging a Zen rhythm section with Tom Fogerty.

Sometime, Somewhere along those endless highways, John Fogerty, the 14 year old kid who joined his big brother’s band transmogrified into a world class singer, songwriter and guitarist with a sound and vision of his own that resonated deeply with the society he lived in and zeroed into the heart of the Zeitgeist.

This was a young man who had been electrified by the visceral power of the 50s Rock ‘n’ Roll Masters and who wouldn’t settle for any music that couldn’t match that power – live up to that challenge.

He worked out a recipe for making sure fire great Rock ‘n’ Roll records and then with the fullest measure of inspiration and perspiration set about matching his idols.

First : You just gotta have a great title.

Think, ‘Heartbreak Hotel’, ‘Sweet Little Sixteen’, ‘Blue Suede Shoes’, ‘Great Balls of Fire!’.

So, he carried a notebook and every time a title popped up in his head that sounded like the title of a classic song, he carefully wrote it down and set his mind to writing the rest of the song.

Titles in John’s Notebook – ‘Proud Mary’, ‘Born on the Bayou’, ‘Up Around the Bend’, ‘Green River’ and, yes, oh Yes – ‘Bad Moon Rising’.

Second : The Song has to connect with the real lives of your audience.

Think, ‘Schooldays’, ‘I Saw Her Standing There’, ‘Dead End Street’.

It should seem so true that once you heard it the first time you could sing it to yourself or a friend (you’d want to share it with a friend) even if the record wasn’t playing in the background.

So, John Fogerty songs are true and resonate whether you’re looking up at the stars in California, Calcutta, Carlisle or Khe Sanh.

Everyone has times when they wonder, for themselves and those around them, Who will stop the Rain?

Everyone has times when they hope, sometimes against hope, that they will be able to hold on and come through as long as they can see at least a glimmer of the light.

Everyone knows one of those Fortunate Sons who is protected by wealth and influence from the grim realities the rest of us have to endure.

Everyone, for humans are a Lunar People hungry for auguries, has at some time looked up into the night sky and said to themselves and to those around them, with dread :

I see a bad moon a-rising … I see trouble on the way … Don’t go ’round tonight
It’s bound to take your life … There’s a bad moon on the rise

 

Third : You just Gotta have a great Guitar lick.

Think, ‘Johnny B Goode’, ‘Hello Mary Lou’, ‘You Really Got Me’, ‘Gloria’.

So, John Fogerty spent hours and hours with his, ‘Black Beauty’ Les Paul custom searching for that Lick, That Lick, the one that would come roaring out of the radio or Jukebox speakers and turn every head, set every toe tapping, get every heart leaping.

And, time after time, time after time, John Fogerty found that magic Lick – the one you can’t argue about, can’t deny.

The Lick that thrills the first time and still thrills the thousandth time.

Nunc, if you get a great title that resonates with the real lives of your audience and you craft a great Guitar Lick and have a Band who will support you through every bar as you sing that Song with irresistible power you are going to make a great Rock ‘n’ Roll Record.

And,if you are John Fogerty with Creedence Clearwater Revival you will make a  Record in, ‘Bad Moon Rising’ that enters the very DNA of Rock ‘n’ Roll.

 

Bruce Springsteen, Chuck Berry, Emmylou Harris : You Never Can Tell

When you are young you think you know.

You know how the world works.

You know just how things are going to turn out.

But you find out the world is a much stranger place than you thought.

People – your parents, your friends, your one and only love, strangely decide to behave in ways you never expected.

The 16 year old school no-hoper strangely turns out to a world-beater by 25.

Volcanos erupt. Impregnable Walls are torn down.

True Love sometimes turns out to be exactly that.

You learn not to make such definite snap judgments.

When things happen you didn’t see coming you’re not outraged.

Instead you smile a wry smile and say ’C’est La Vie – it goes to show you never can tell’.

 

And, if you’re a great songwriter reflecting wryly on life and love you decide to write a song filled with acute observation, humour and wisdom.

At least, that’s what you do if you’re Chuck Berry – even if you’re in Prison when the inspiration strikes.

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Chuck was, of course, a writer of both inspiration and deliberation.

There’s immense craft in the song.

The story is told in four short verses.

‘C’est la vie say the old folks, it goes to show you never can tell’ is an arresting and immediately memorable lyric hook neatly and beautifully rhythmically encapsulating the moral of the song.

The AAAA Rhyme scheme is used with finesse and wit building up rhyme by rhyme a complete picture of the situation.

Chuck delights in marrying his New Orleans Creole Rhythm with a French name for teenage spouse, Pierre, and playfully using both madamoiselle and Madame, in the correct order, to signify that the truly in love couple have indeed rung the chapel bell.

So, married life begins with a well stocked Collerator just crammed with those dinners they wolfed while watching their favourite shows. I wouldn’t be surprised if they mixed that ginger ale with something a little more potent!

I was delighted to discover that ‘Coolerator’ was a genuine brand name (see image below) and that the refrigerators were manufactured in Duluth – making it certain that they would have been known to Bob Dylan and very likely stocked in the family electricals store.

 

It was a teenage wedding, and the old folks wished them well
You could see that Pierre did truly love the mademoiselle
And now the young monsieur and madame have rung the chapel bell
“C’est la vie”, say the old folks, it goes to show you never can tell
They furnished off an apartment with a two room Roebuck sale
The coolerator was crammed with TV dinners and ginger ale
But when Pierre found work, the little money comin’ worked out well
“C’est la vie”, say the old folks, it goes to show you never can tell
They had a hi-fi phono, boy, did they let it blast
Seven hundred little records, all rock, rhythm and jazz
But when the sun went down, the rapid tempo of the music fell
“C’est la vie”, say the old folks, it goes to show you never can tell
They bought a souped-up jitney, ’twas a cherry red ’53
They drove it down to Orleans to celebrate the anniversary
It was there that Pierre was married to the lovely mademoiselle
“C’est la vie”, say the old folks, it goes to show you never can tell

 

Chuck always delighted in his references to US Car Culture and I have to admit that from the first moment I heard You Never Can Tell I sorely longed for a ‘Cherry Red ‘53’!

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I haven’t got mine (yet).

But, I surely did get me a fine Hi Fi Phono and boy, as all my neighbours will tell you, did I let it blast!

And, taking pride of place among my 700 or so 45s there will always be a high stack of Chuck Berry singles.

Because he was the greatest songwriter of the primal Rock ‘n’ Roll era and because nothing lifts the spirits like three minutes of prime Chuck Berry!

Consider that You Never Can Tell was preceded by, ‘No Particular Place To Go’ and succeeeded by, ‘Promised Land’ – a run of classics that would have worthily constituted a lifetime’s achievement for another songwriter/performer.

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I should draw your attention to the glorious piano playing of Johnnie Johnson for once foregrounded in this song.

Released from dramatic guitar playing duties Chuck concentrates his genius on his sly and smooth vocal.

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Of course, it was a given that once a new Chuck Berry song hit the airwaves and Jukeboxes that a flood of cover versions would appear.

So many to choose from for our Immortal Jukebox!

Let’s kick off with Emmylou Harris and her aptly named Hot Band more than kicking up their heels!

 

 

Emmylou and Co hit that shuffle rhythm from the get go don’t they.

Glenn D Hardin on piano and Hank Devito add colour with England’s own Albert Lee providing the stellar guitar.

What an apprenticeship in the big time this was for the young Rodney Crowell!

Naturellement he was in love with Emmylou  – putting him in company with all red blooded music fans of the time!

Now we let the arm come down on something really special.

You want a demonstration and distillation of the spirit of Rock ‘n’ Roll?

My Lords, Ladies and Gentlemen and Jukebox afficianados the whole world over I give you the one and only Ronnie Lane with Slim Chance!

 

Now that’s a New Orleans second line party!

That’s ginger ale laced with the very finest bourbon!

That makes the big toe in your boot shoot straight up to the sky!

Every time Ronnie Lane strapped on his bass and stepped to the microphone he put his whole heart and soul into his performances exuding sheer glee in the music he was making.

The same holds true for Bruce Springsteen.

I love this version of You Never Can Tell from Leipzig in 2013.

Bruce takes the crowd request and coaches the initially sceptical Band until they produce a wonderfully ragged celebration of Chuck Berry’s anthem.

Chuck Berry will always be the heartbeat of Rock ‘n’ Roll.

Thank God apostles like Bruce Springsteen, Ronnie Lane and Emmylou Harris ensured that the message still resounds.

 

 

And, even today, somewhere in Chicago or Cairo someone is saying – you know we could really do a killer version of that Chuck Berry ‘C’est La Vie’ song.

It goes to show you never can tell where a great song will end up except that it will surely keep traveling on.

Bob Seger, Dave Edmunds (& for one night only Bob Dylan!) : Get Out Of Denver

Well, I think it’s fair to we have been in the fast lane for the last two Jukebox Posts.

So, it would probably be sensible to pull over, take a breath, and relax with a dreamy ballad I could wax all lyrical about.

That would be sensible.

But, Brothers and Sisters, I’m here to tell you I’m going to do no such thing.

No such thing.

Instead while the fires are blazing and our hearts are burnin’ burnin’ let’s get those wheels really spinning!

Time to get the motor running.

Head out on the highway.

Adventure is bound to come our way.

Let’s drive all night under the Moon until the Sun comes up.

Let’s roar through Nebraska whinin’.

Let’s head out for the mountains.

Let’s drive so fast the fields will feel like they’re bending over.

Let’s worry about absolutely nothing.

Absolutely nothing.

Not even if the rear view mirror picks up flashing red lights and the air resounds with sirens screaming.

Because all the red lights and screaming sirens in the world don’t make no difference when you’re driving a Ferrari Enzo.

 

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Oh Boy are we gonna get out of Denver.

The speed dial is gonna cruise past 200 miles an hour.

We’ll have to pinch each other just to see if we was dreaming.

Bye, Bye, Bye, flashing lights and sirens screaming.

Bye, Bye, Bye.

We’re getting straight outta Denver.

Straight outta Denver.

Fire her up Bob!

Fire her up!

 

 

Bob Seger is the real deal.

He did all the hard yards in his native Detroit.

Learning how to lead a band that could drive an audience stone crazy.

Writing songs that spoke plain truth about the real lives people led and the lives they wanted to lead.

Bob Seger – an honest working man speaking directly from that experience and illuminating it with melody and lyric and colossal drive.

A Home Town hero in Detroit for years and years before the rest of the world woke up to his extraordinary talent.

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One of those who knew a Rock ‘n’ Roll classic when he heard it was Dave Edmunds.

Dave is plugged into the very DNA of Rock ‘n’ Roll.

He is entirely capable of playing every instrument himself as with I Hear You Knocking.

But, get him onstage with sparring partner Nick Lowe and a dynamite drummer like Terry Williams and you can guarantee your wheels will be spinnin’ spinnin’ shootin’ sparks all around.

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From 1977’s ‘Get It’ Dave’s riotous take on Get Out Of Denver.

Go! Go! Go!

 

 

From time to time I’m asked – what’s the greatest double live album of all time?

Now, that’s easy – Van Morrison’s, ‘Too Late To Stop Now’ for the genius of his singing across multiple musical genres and the empathetic brilliance of The Caledonia Soul Orchestra.

But, when I want the pure adrenaline rush of listening to a great Band setting the woods and ballroom on fire I always turn to Bob Seger’s ‘Live Bullet’ recorded in 1975 at The Cobo in Detroit.

When I perfect the time travel machine one of my first stops is going to be Detroit September 1975 so that I can go absolutely nuts the moment I hear Bob sing:

’I still remember it was autumn and the moon was shinin’ ….’

 

 

Fast forward to March 16 2004 Detroit’s State Theatre.

Bob Dylan, a mere 15 years into the, ‘Never Ending Tour’ has seemingly completed his encore with the incomparable one-two punch of, ‘Like A Rolling Stone’ and, ‘All Along The Watchtower’.

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But, there’s a surprise in store even for fanatical Bob Cats who know every song Bob has ever played and who compile lists of songs he just might do one day (guilty).

For tonight, for one night only (or more circumspectly we might say for at least the next 14 years) Bob and the band – Larry Campbell, Freddie Koella (much missed by me), Richie Hayward, George Recile and on Bass that night – Tony Garnier launch to the roaring delight of the assembled Detroiters full tilt into, ‘Get Out Of Denver’

 

Bob must have learned that the day before had been officially declared Bob Seger Day by The Governor and decided to tip his hat in the best way possible from one songwriter and bandleader to another.

Bob, as we should know by now, is pretty much familiar with every great song that’s been written over the last two hundred years or so.

That’s why I have dubbed him The Keeper Of American Song.

It’s also worth noting that Bob Seger has said that the first artist who really got to him was Little Richard.

And, legendarily, Bob Dylan’s High School Yearbook records his ambition was to, ‘Join Little Richard’.

Hearing the two Bobs burnin’ burnin’ through Get Out Of Denver we can be sure both of them have joined Little Richard in the highest halls of Rock ‘n’ Roll’

‘Get out of Denver better go go, Get out of Denver go ….

The Clash, The Stray Cats, Bobby Fuller : I Fought The Law

‘I wrote it in my living room in West Texas ones sandstormy afternoon. It took me about 20 minutes’ (Sonny Curtis)

West Texas is wide open.

When the wind blows, and it blows a lot, sand storms swirl.

After February 3rd 1959 there was another sound in the swirling sandy wind.

The sound of a Ghost – the Ghost of Buddy Holly.

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Buddy Holly’s music woke deep passions and ambitions in a Minnesota kid who locked eyes with him in one of the last concerts he ever played.

Buddy Holly’s music woke deep passions and ambitions in two Liverpool teenagers who wanted to write and play their own songs and have a group just like The Crickets.

Buddy was the greatest Rock ‘n’ Roller ever to come out of Texas and though his sound echoes all over the world it’s in Texas that his Ghost speaks loudest.

Speaking in the song of the hot sun and the West Texas Wind.

Sonny Curtis knew Buddy well.

He had played with him and recorded with him.

So, when the plane went down that tragic day it seemed natural for The Crickets to turn to Sonny as a new Cricket and songwriter.

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The first post Buddy Crickets album, ‘In Style’ was recorded in New York in 1959 and issued the following year.

Driving up to the Big Apple Jerry Mauldin and Jerry Allison asked Sonny if he had any songs for the new record.

Well .. I got this song, ‘I Fought the Law’ – I wrote last year, ain’t even written it down, kind of a country song, goes like this:

A-breaking rocks in the hot sun
I fought the law and the law won
I fought the law and the law won
I miss my baby and a good fun
I fought the law and the law won
I fought the law and the law won
I left my baby and I feel so bad
Guess my race is run
She’s the best girl that I’ve ever had
I fought the law and the law won
I fought the law and the law won
A-robbin’ people with the zip gun
I fought the law and the law won
I fought the law and the law won
I needed money ’cause I had none
I fought the law and the law won
I fought the law and the law won
I left my baby and I feel so bad
Guess my race is run
She’s the best girl that I’ve ever had
I fought the law and the law won
I fought the law and the law won.

 

Wow! They could all tell this was some song.

A bad boy who ain’t so bad.

The best girl he he ever had.

An armed robbery that goes wrong.

The inexorable reach of the law.

But, not as a country ballad.

No, this needed some of that Buddy bounce.

Bright guitars, rock ‘n’ roll drums, a bright clear vocal (Earl Sinks would take care of that) and a killer chorus.

Put all that together and you’ve got a hell of a record.

 

 

And, it was a hell of a record.

It’s just that in 1960 the great record buying public in all its wisdom wasn’t listening closely to The Crickets anymore and neither were the radio programmers.

So, no hit for The Crickets and no royalties for Sonny Curtis.

Yet, as Jukeboxers know, a true message always gets through – it’s just a matter of how long it takes.

There is, of course, another audience for Songs.

An audience that hears things the public don’t always cotton onto straight away.

The audience of other songwriters and performers who hear a song and think – I know just how to do this one and really make it come alive.

So in 1962 Milwaukee’s Paul Stefan with The Royal Lancers issued a charming, if underpowered, version on Citation Records which won local approval.

A couple of years later Sammy Masters on Kapp recorded it Western recitation style.

Sonny still didn’t really have any royalties to bank but the message was rising above a whisper now.

And, the message was heard loudest and clearest of all by Bobby Fuller under the hot sun back in El Paso Texas.

Image result for bobby fuller images

 

 

Bobby was a natural rocker who loved the sheer sound of guitars turned up high supported by a driving beat and vocals that grabbed your attention from the get go and never let up.

And, Bobby likes to experiment in his basement – layering the instrumental and vocal sound until it rang out like lightning.

Bobby’s sharp ears heard, ‘I Fought the Law’ and he got to work.

He produced a demo, in 1964, that would lay the template for his monster hit of 1966 (the subsequent 1964 45 put out on his own Exeter label was a hit in the El Paso area but to my mind it is flatter, less resonant than the wonderful demo below).

it’s obvious that Bobby has been listening to the likes of The Ventures and Dick Dale as well as good old Buddy.

Now El Paso knew just how great a song this was.

All the elements of a classic were now in place.

What Bobby and the song needed now was a more punchy recording in a better studio along with national distribution and publicity.

Enter Bob Keane of Del Fi and Mustang Records who had lost his brightest star, Ritchie Valens, in the same crash that took away Buddy.

Setting up in Los Angeles Bobby, brother Randy (bass) Jim Reese (guitar) and DeWayne Quirico on drums laid down an all time rock ‘n’ roll classic that has the drive of the 50s forefathers with added 60s colour and brightness.

This one takes off like a dragster and smashes through the winning tape still accelerating.

Once this one got heard on the radio there was no stopping it and by mid March 1966 it was a top 10 hit.

 

 

I make that 132 seconds of Rock ‘n Roll bliss!

Sheer Bliss.

Of course, I can’t think of a occasion I’ve put this on my turntable and played it only once!

Eight years after that sandstormy day, at last, the royalties began to flow for Sonny Curtis.

A true message always gets through.

Always.

Now, you would think such a triumph would presage a stellar future for Bobby – especially as he was such a clued up musician, strong vocalist and a brilliant live performer.

However, those dreams died, in very dubious circumstances indeed, when in July 1966 Bobby was found, asphyxiated and doused in petrol in his car.

The official verdict was suicide.

It seems highly likely that it was malign forces, outside the Law, who took Bobby’s life away and shattered a very promising career.

Time moved on and music went through many phases.

British Beat. Folk Rock. Pyschedelia, Country Rock, Prog Rock, Glam Rock.

By the mid 70s in London a new generation of musicians and incendiary would be musicians intuited that it was time to get back to basics and hit the stage at a hundred miles and hour and let the audience catch up if they could.

Punk Rock was a two fingered salute to the worthy, corporate, Rock establishment.

Get out of the way!

Move it on over!

A new Gang’s in Town.

And, pogoing furiously in clubs all over London, it seemed to me that the coolest Gang and the one which truly understood the essence of real Rock ‘n Roll was The Clash.

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Joe Strummer, Mick Jones, Paul Simonon and Topper Headon.

Joe and Mick took a trip to San Francisco in mid 78 to work on the second Clash album, ‘Give ‘Em Enough Rope’.

The Automatt Studio was furnished with vintage Jukeboxes and the record the needle dropped on the most for Joe and Mick was none other than Bobby Fuller’s I Fought The Law.

A true message always gets through.

I Fought the Law, in July 1979, would be the first Clash single issued in America and their first track to gain significant radio AirPlay.

This is truly a magnificent racket!

This one uses premium rocket fuel.

Best to strap yourself in before hitting the play button here!

 

I imagine it never occurred to Sonny that a bunch of West London Bad Boys would really whip up a Wild West Texas Typhoon on that song he wrote 21 years before!

Nor, that a bunch of American Rebels, The Stray Cats, would find their feet in London perfecting a raunchy Rockabilly attack that could ensure any song they took on would leave earth’s gravity in a single bound.

Brian Setzer, Lee Rocker and Slim Jim Phantom palyed with such sheer Joy in their live shows.

Whenever they played near me I was at the head of the queue and ready to elbow my way to my preferred front row centre stage spot!

The message still gets through.

 

 

Oh yes.

The message still gets through.

Crosing Continents and Oceans.

Vaulting Mountains.

Wherever there’s a bunch of musicians who need to ride the whirlwind the message gets through.

It came through on a clear channel to Mano Negra who fell on it like ravenous wolves howling at The Moon.

Ojo! Ojo! Ojo!

This Train ain’t gonna stop – stand well clear or you’ll get your head blown clean off!

 

 

And, if you’ve got your head blown off the least you can do is dance until the rest of your body runs out of blood to pump.

So, to conclude lets rock the joint with two scorching live takes on I Fought the Law.

First off The Clash flash flooding the senses.

Now, the man who put his stamp all over this song for all eternity – Bobby Fuller (dig those groovy dancers all you hep cats and kittens!).

 

One last word of advice to all you Bad Boys and Bad Girls out there – forget going robbing with a Zip Gun, a Six Gun or a Shotgun.

If you fight the law you’ll find the law wins.

No, get yourself a six string and crank it up to 11 and sing with all your heart for Sonny Curtis and Bobby Fuller:

I fought the law and the law won
I fought the law and the law won.

I fought the law and the law won
I fought the law and the law won.

Notes :

Other versions of I Fought the Law I approve of you might care to check out :

Bruce Springsteen, Tom Petty, Nanci Griffith with The Crickets, John Mellancamp, Mike Ness, The Grateful Dead.

Bobby Fuller – His tragic death was a great loss to music.

In many ways he’s the musical bridge between Buddy Holly and John Fogerty of Creedence Clearwater Revival.

I have two Box Sets ‘Never To Be Forgotten’ from Del Fi and ‘Texas Tapes Revisited’ – both crammed with rocking gems.

Sonny Curtis – Though I Fought the Law is his most valuable copyrighted Song Sonny has penned several other significant Songs including, ‘Walk Right Back’ for The Everly Brothers.