Duane Eddy : Drive South (A road movie in 5 Songs)

‘Drive South’ starring Henry Fonda as Charlie

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and Jean Arthur as Anna

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Music by Duane Eddy

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Minnesota 1938

Scene 1 – Introducing Anna

Anna looked out at the Minnesota night sky.

A distant moon illuminated swarms of ghostly moths fluttering by her window.

Snow and ice all around. And, the Cold … the Cold.

No matter how thick the blankets you sheltered under you were always cold in Minnesota in Winter.

A Winter which seemed to reign all through the year.

How many stars were there above Lutsen?

Thousands upon thousands. And, she had wished upon every one.

Every one.

Wishing that one day, soon, she would be looking at those same stars somewhere far away where the days and nights were warm.

With someone who would take good care of her and call her Anna not Anni-Frid.

Like Papa and the boys always did. Papa was already planning a marriage for her to a local farmer, a widower, who came of ‘good Norwegian stock’.

Anna. The name she called herself. The name she would take with her out into the world beyond the fences of the farm.

South. Like the birds to live, to thrive, she would have to head South.

South.

Scene 2 : Introducing Charlie

Charlie came from the South.

Georgia.

Now you could blink your eyes twice and miss all there was to see in Alapaha.

But it was home. The air smelled sweet and the peaches were so fine – straight off the tree.

And, if it wasn’t for that trouble he’d got into with the local Sheriff on account of a misunderstanding about the ownership of a truck he won, fair and square, in a card game with one of the Faulkner boys he would be there still.

Instead, he had to high tail it out of there without a backward glance. Better that than a long spell behind bars or be baked to death on the chain gang.

Sure, he didn’t know how he would pay the next time he needed gas. But, with a grin, he thought somehow he would find a way. He always did.

He knew the dirt roads and trails round here better than anyone. Forty miles of bad road and he would be long gone.

All they would ever catch of him would be the dust he left behind!

Scene 3 : Love and flight

Now, Charlie was thousands of miles away from the Southern sun in Minnesota. Still, there wasn’t a car or a tractor ever made that Charlie couldn’t make run even if everyone else had given up on it.

And, there was always work in farming country for a man who could save the struggling farmer the price of a new machine by resurrecting an old one.

Word got around. And so did Charlie. Farm to farm making those machines last one more harvest.

Charlie thought The Olsens worked harder than Georgia mules. And it seemed they were about as talkative too.

They were head down and close mouthed from sun up to sun down.

Though Charlie liked to talk he’d come to understand that these Norwegian folks spoke only when it was strictly necessary.

Only Anna spoke as if talk was a pleasure. When they got a chance to talk before the shadow of Mr Olsen or one of his five hulking sons intervened.

But, you can say a lot in a very few words. A lot.

Old Mr Olsen near cracked a smile Charlie got his old John Deere running again. Come in boy and wash up and let us share supper with you.

Anna is a fine cook – we will miss her food when she leaves us to become Mrs Nordstam come spring.

And, as he came into the house there was Anna haloed in the half light .

And, that was that. He couldn’t, wouldn’t, let her become another man’s wife.

He knew from the look in Anna’s eyes that she had been waiting for him just as much as he must have been waiting for her.

Some things don’t need words. A look is more than enough.

He told Mr Olsen he’d come back in the morning.

And he did. At three. Before anyone was awake.

Apart from Anna. He knew she would be awake. And waiting.

They had to walk a long ways in the still moonlight to where he had parked the truck.

They didn’t speak but they both knew that they were bound together now and that the road ahead, however bumpy, would be one they traveled together.

So, as the truck pulled away heading South their faces were shining bright as any star and their hearts were on fire.

Charlie said they would find a preacher once they crossed the state line.

And they drove South. South.

Under the canopy of heaven.

Scene 4 – Odyssey of love

Together in the truck and the truck stops they found they were as close as two people can be.

As the ribbon of the road unfurled they told each other the stories of their childhood and their secret dreams.

They would never forget the changing light and the charging of their hearts as they headed South.

The names of the towns they passed through or where they stayed when Charlie was working became hallowed beads on their love’s rosary.

Redwing, Bemidji, Grand Rapids, Aitkin, Brainerd, Little Falls, St Cloud, Elk River, La Crosse, Potosi, Dubuque, Lomax, Kampsville, Granite City, Cairo, Columbus, Tiptonville, Golddust, Locke, Memphis.

Of course, there were times the truck broke down and days when they thought they’d never see another dollar.

Charlie got in a fight a time or two and Anna longed for the days when they would have a home to call their own. A home where they could have a family.

In the meantime they kept moving.

Scene 5 – A home of their own

Kept moving. ‘Til the day they found Bell Buckle or Bell Buckle found them and they claimed each other.

Turned out Bell Buckle was in sore need of a first class mechanic and a woman with a smile as bright as the Southern sun.

Under the Southern sun two become three, then four and finally five.

And, they were never really cold again.

Note :

Duanne Eddy with his trusty Gretsch 6120 made some of the defining instrumentals of Rock ‘n’ Roll. Every home should have his Greatest Hits securely shelved.

I intend to write much more about Duanne when, ‘Peter Gunn’ features on The Jukebox later.

Guitar Instrumentals a Go Go!

Every decent Jukebox ought to have several fine instrumentals on offer. The golden age of popular music, the 1920s to the 1970s, glittered with thrilling and moody instrumentals that blasted from car and transistor radios and the neon lit jukeboxes.

Most of tne great instrumental hits hold you from the first notes and then take you on a dizzy aural ride before depositing you breathless as the last note sounds.

I have always loved guitar instrumentals. There’s something elemental about those rousing riffs that locks deep into your memory and your musical heart. The guitar instrumental can evoke a panoply of moods and tones from slashing attack to daydream lullabies.

The effective power of an instrumental is not necessarily related to instrumental virtuosity – its more something to do with familiarity and surprise.

Every time someone comes up with a winning riff you feel as if you’re recognising, recalling, something you’ve always known and yet you are charmed and surprised by its newly minted freshness. Simple really!

In a recent post I let you in on my fantasy off hosting a late night radio show and told you I already had the theme picked out. Well to kick of this instrumental fiesta here’s the one and only Link Wray with, ‘Turnpike USA’.

Can’t you just imagine setting cruise control, winding the windows down and driving into the setting or rising sun listening to this one?

Link Wray was a part Shawnee, power chording guitar hero if there ever was one! He was a master of distortion and of straight for the throat drive and attack.

His records demonstrate the awesome power of electric energy being restrained then unleashed.

They will never go out of style and you can bet someone right now is strapping on a guitar thinking they can match Link. Very few of them will succeed but they’ll have a heap of fun trying!

Next up a guitar player so good and influential that a whole style, ‘Travis Pickin” is named in his honour. I refer to the mesmerising maestro of guitar picking from Muhlenberg County Kentucky, Merle Travis.

Merle came out of and developed the multi-racial finger picking guitar styles of coal rich Western Kentucky.

His guitar playing miraculously melds elements of ragtime, jazz, hillbilly boogie, the blues and western swing. Which is to say that Merle listened with wide open ears to all the music pouring out of the local radio stations and figured out how to take the elements of style needed for the particular tune he was ready to play (or write). He could seamlessly switch from finger picking to flat picking like a musical conjurerer.

All this was done with charming relaxed authority. Sure, Merle wasn’t above a little showing off but generally his virtuoso skills were part of a musical whole not an end in themselves.

Perhaps this was because Merle was a brilliant songwriter as well as a supreme guitar stylist. After all, this is the man who wrote, ‘Sixteen Tons’ and ‘Dark As A Dungeon’ – songs that resound down the ages.

The showcase for Merle the picker here is this jaw dropping take on, ‘Cannonball Rag’

My next choice is from a musician, Johnny Jenkins, who is only well known to music scholars especially those devotees like myself of the home of deep southern soul the Stax/Volt label. This track appears on Volume 4 of the 9 CD, ‘Complete Singles’ set.

I consider possession of that collection of eternity shale to be the mark of a civilised person who would also have the 1911 Brittanica safely shelved along with the complete works of P G Woodhouse and Wild Bill Shakespeare.

Johnny was a left handed blues based player whose most important contribution to musical history, apart from the track in question here, is that he employed the young Otis Redding as his driver.

And, one epochal day in 1962, allowed him to use up 40 minutes of remaining studio time to see what he could come up with.

Those blessed minutes yielded the stupendous ballad, ‘These Arms Of Mine’ and the rest as they say is, History!

The track I’ve selected here is called, ‘Spunky’ and lasts barely two minutes. But, what joy, what joy! I advise you to turn this up as loud as you can and clear your furniture away.

For, if you’re anything like me you’ll find yourself whirling around like a dervish possessed while this one plays! I can’t tell you how much I love this record.

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Finally we may all need cooling down now so to sign off I’ll leave you with a tune that seems to contain the midnight breeze, the lapping of waves on the Atlantic shore and the blessed breath of your baby child.

Surely you’ve guessed I’m introducing the immortal, ‘Sleep Walk’ by the Farina Brothers from Brooklyn New York – known to you and me and the Billboard Charts as Santo and Johnny.

In 1959 this climbed all the way to the top of the chart and it’s still regularly played when anyone wants to look at the stars and dream of a better day tomorrow. The boys greatest popularity came later in Mexico and Italy where they appreciate lyrical playing.

Got to say that’s put me in the mood to play Link Wray again – why don’t you?