John Lennon, John Sebastian, Otis Redding & Lauren Bacall : You Know How To Whistle Don’t You?

Continuing the series of Posts from the early days of The Jukebox here’s a particular favourite of mine from 2014 illustrating how the humble whistle can make for unforgettable moments on screen and in song.

So, settle down and get ready to whistle along!

‘… You don’t have to say anything, and you don’t have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don’t you, Steve? You just put your lips together and … blow.’

*

Spoken by Lauren Bacall to Humphrey Bogart in the 1944 film classic, ‘To Have and Have Not’ these words were delivered with an alluring yet cool erotic charge in Bacall’s wonderfully husky and earthy vocal tones.

There isn’t a man alive hearing those words who didn’t immediately start practicing that whistle!

Just blow.

What could be simpler?

After all what is a whistle but a clear high pitched sound created by forcing your breath through a small opening between your partly closed lips and/or your teeth?

Yet, the humble whistle which must surely have been the earliest form of musical communication practiced by mankind (along with the handclap) can like all forms of human language be freighted and graced with multiple meanings.

There’s, as above, the whistle of erotic appreciation and invitation.

There’s the whistle of almost subconscious reassurance when you summon that favourite tune (in my case Buddy Holly’s Everyday) as you are about to start or contemplate an especially difficult challenge or task.

A whistle can also be an urgent signal – Look out! Look out!

As heard in a thousand war films as an opposing soldier looms into sight of the brave resistance band.

In sport the whistle is generally heard as the shrill admonishing marker of foul play – stop that now!

Again, the whistle can be your charm against the creeping dread we feel when confronted by our mortality – we whistle past the graveyard to keep our spirits up and those of the clutching underworld away.

When you’re absolutely sure that no one can find any fault with the work you’ve completed you can say with studied calm, ‘Take a look – you’ll see its all clean as a whistle!’

Of course, if you find as an honest person that corruption is all around you have a duty to become a Whistle Blower to bring the forces of justice and retribution hurrying down to halt and clean up that corruption.

If you don’t do that and just mutter about your outrage to yourself what are you doing but whistling in the wind!

Oh yes, the modest yet heartfelt whistle can communicate remarkably complex and subtle messages depending on the situations and characters of the whistler and the whistled to.

Ruminating on the subject has for a music fanatic like me inevitably called to mind the use of whistling in numerous songs across many genres of popular music. So many indeed that I have painfully limited myself to only four examples from the score or so that immediately came to mind.

Let’s start with the use of the whistle from a man, John Lennon, who had no difficulty with finding words but who did have problems with acknowledging and dealing with the powerful, sometimes deliberately buried emotions swirling around his deep dramatic heart and soul.

I can’t help hearing the whistle here in, ‘Jealous Guy’ as the sound of a man who has experienced too much and made too many mistakes reaching beyond words for the blessing and balm of forgiveness as much by himself as the lover he has wronged.

We may feel, sometimes, that we have the world at our feet yet we know that there will always be a part of us, shivering inside, that needs comfort and care.

Roll on John.

Next a record, ‘Handy Man’ by Jimmy Jones, that the teenage John Lennon would almost certainly have heard as he and Paul McCartney began to fashion songs and dreams of their own in Liverpool before setting out to conquer Hamburg and the known world.

Jimmy Jones, who possessed a fine high tenor voice, really only had two hits (the other being the charming and witty, ‘Good Timing’) but they were songs that still have an emotional heft beyond their undoubted power as vessels of nostalgia for the neon lit diner days of the 1950s.

The whistling here is provided by a genuine giant of popular music, Otis Blackwell, who composed jukeboxfulls of fine songs including classics like, ‘Fever’, ‘Don’t be Cruel’ and, ‘Great Balls of Fire’.

In 1966 John Sebastian the leader of The Lovin’ Spoonful was at the top of his very considerable game.

He had talent oozing from his fingertips and a sunny disposition that promised that the world was a wonderful playground where adventures a plenty were just waiting to be discovered.

He manged to be both Tom Sawyer and Huck Finn and a songwriter of considerable range and sophistication moving from the euphoric attack of, ‘Do you Believe in Magic’ to the tenderest romantic lullaby of, ‘Darling Be Home Soon’.

Sebastian provides the lovely, easy, hammock swinging whistle here in the drowsily beautiful, ‘Daydream’.

May you have such a day soon!

Finally, and poignantly, I have to conclude with one of the signature songs of the 1960s from a voice for the ages. Otis Redding with the first record released after his untimely death, ‘(Sittin’ On) The Dock Of The Bay’.

The tide rolled away for Otis as it will for you and me but while we have breath this song will be his testament and our consolation.

God Bless You Otis!

 

Footnote:

Sadly since this post was written and published Lauren Bacall died.

I dedicate this post to the memory of wonderful actress and hell of a broad who created more than her fair share of Immortal Moments.

Sun and Stax Records Pioneers: Rufus and Carla Thomas!

All families contains the history of multitudes through the cultures they are heir to and which they live within.

At the same time each family can be an agent for cultural change and development through their actions and works.

We stand on the shoulders of giants but we can see a destination ahead they could never reach.

This is particularly the case in families whose work lies within the popular arts.

If you grow up with music and talk about music is all around; if you watch shows from the side of the stage and know the drudgery as well as the glamour of, ‘show business’ you will either run a mile and seek, sensibly, to become a lawyer or farmer or you will think there is no other life worth living than that of writing, singing and performing songs and bathing in the approval of an audience.

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The careers of Rufus and Carla Thomas, father and daughter, take us on a fascinating journey through twentieth century American popular culture.

We will encounter: travelling minstrel shows, the development of Afro-American radio and the birth and growth of two of the nations fountainhead records companies (Sun and Stax) which produced many of the greatest rock n roll, soul and rhythm and blues records ever made.

We will also meet music icons of the stature of Sam Phillips, Elvis Presley, B B King and Otis Redding and realise why the city of Memphis can justifiably lay claim to have been the capital city of American music.

Rufus Thomas was a magnetic figure with personality and character to burn. He had that most attractive and winning of human qualities – vitality.

There were no downcast faces when Rufus was around! He was a one man party who lit up every room he ever entered with his ebullience and appetite for creating and sharing enjoyment.

He was born in rural Mississippi in1917 moving to Memphis as a toddler.

It was in that bustling metropolis that he grew up and learned to become an entertainer who combined the talents of a dancer/hoofer, comedian, singer, talent show host and radio disc jockey.

I think that’s what you call an all rounder!

Leaving Booker T Washington High School in 1936 with the depression suffocating the nation he took his talents on the road throughout the South with the legendary F S Walcott Rabbit Foot Minstrels (commemorated in a lovely rowdy song by The Band).

‘The Foots’ were a glorious travelling tent show troupe which operated between 1900 and the late 1950s bringing comedy sketches and salty song and dance routines to any town, large or small, where the tent could be pitched and an audience drummed up.

Arriving in town the brass band would parade with comedians like Rufus announcing the wonders of the show to come. The stage, boards on a folding frame, would be set up with gasoline lamps acting as footlights.

While the liquored up audience waited for Bessie Smith, Ma Rainey or Louis Jordan to come on Rufus would whip up the crowd with comic dancing and jive jokes tailored to the local audience and introduce the dancing girls who invariably managed to increase the show’s temperature by several degrees centigrade.

After the War Rufus was back in Memphis working for a textile company and married with three children; Carla, Marvell and Vaneese. He hooked up again with his high school mentor, Nat D Williams, who was a key figure in Memphis Afro-American culture as teacher, journalist, talent spotter and pioneering radio host.

Nat D recognised that Rufus’ energy, affability and show business smarts gave him all the necessary qualities to be a successful talent show host. So, Rufus began to regularly host the shows at the Palace Theatre on Beale Street once announcing the youthful Riley (B. B.) King as the winner in the late 40s.

Rufus was still hoping to make it as a singer though singles on labels like Star, Chess and Meteor shifted few units.

The next stage in Rufus career was again given impetus in 1951 through the good offices of Nat D who brought him on to be a disc jockey for WDIA – a Memphis radio station which, uniquely at the time, used black DJs to broadcast to the considerable black audience in Memphis and anywhere else 50,000 watts of power could reach!

Radio was king in the first post war decade reaching into almost every home in the country and providing the soundtrack to millions of lives through immensely popular shows that gathered whole families round the set.

Rufus, with his easy charm was a radio natural and his, ‘Hoot and Holler’ show became essential listening not just for his own community but also for young white hipsters like Elvis Presley or Steve Cropper who just knew that they could play those rhythm and blues too if they were only given the chance.

As it happened in Memphis there was a man, one of the true heroes of American music, Sam Phillips who was able to make those dreams come true. Rufus, in the early 1950s was often at Sun studios at 706 Union Avenue working with Phillips as he recorded brilliant blues sides by artists like Howling Wolf.

It was Rufus who provided Sun with its first breakout single in 1953 with, ‘Bear Cat’ an answer record to Mama Thornton’s, ‘Hound Dog’ which reached No 3 in the R&B chart (this launched a series of legal actions but that’s another story).

Rufus let rip with the full force of his personality matching Big Mama all the way while adding a sly spin of his own to the story of mismatched lovers.

The featured stinging guitar is by Joe Hill Louis.

Turn this one up as loud as you can!

Rufus, like all the other black artists at Sun then faded into the background as Sam Phillips realised that the pot of gold at the end of the rainbow could only be found by recording white artists, preferably young handsome guys, who could combine blues, rhythm and blues and country influences to create a new sound on the face of the earth – rock ‘n’ roll.

Enter Elvis Presley! Elvis was aware of Rufus through listening to WDIA and he always retained a fondness for ‘Tiger Man’ which Rufus had recorded at Sun.

Rufus continued to combine full time work at the textile plant with his entertainment career throughout the 1950s. Meanwhile, Carla who had been born in 1942 was soon displaying the family relish for singing and performing.

At the tender age of 10 she joined the WDIA sponsored Teen Town Singers and was combining her school duties with twice weekly rehearsals and a radio show every Saturday. Rufus could hear that his daughter had an attractive voice and unusual poise for such a young artist.

So, in 1959 Rufus decided to approach a new Memphis recording outfit, Satellite Records, headed up by siblings Jim Stewart and Estelle Axton and persuaded them that they needed to move beyond the country and pop markets R&B to thrive in their home town and the rest of the nation.

Rufus and Carla recorded the duet, ‘Cause I Love You’ at Satellite’s studio and operational headquarters which was located in a former cinema/theatre on McLemore Avenue.

And, voila! Satellite had its first hit (helped by the distribution deal agreed with sharp eared Jerry Wexler at Atlantic Records).

Soon after Jim and Estelle would use the first two letters of their surnames and create Stax Records.

The next time Carla’s name appeared on a record it was on the Atlantic label with a song she had written as a 16 year old, ‘Gee Whizz (Look At His Eyes).

Gee Whizz is a heart and soul on the sleeve love ballad that could only have been written by a teenager in the delirious throes of adolescent love/infatuation.

Do you remember that oh so sweet feeling as you gazed at your love object?

While no one could or should maintain that obsessive attachment to the dream of love its a poor soul that does not cherish a small remembrance of those heady days.

And, nothing can swoosh you back to those days with more efficiency than Carla’s utterly beguiling vocal here. Lean back, close your eyes and swoon!

The song became an immediate radio favourite and once Atlantic was behind it and Carla appeared on the nations premier pop TV show, ‘American Bandstand’ there was no stopping, ‘Gee’ from ascending to the top 10 of the national charts and a permanent place in the memories of a generation.

Carla then issued a string of singles on Atlantic and then Stax demonstrating that the attractively naive young girl was growing into a smart and sassy young woman who could convincingly embody a full range of adult emotions with engaging vocal style.

Listen to her here in 1963 with a song especially beloved by her European fans, ‘I’ll Never Stop Loving You’.

You’d have to have a stony heart and leaden feet not to be up and practicing your finest twists and twirls to this one!

In that same year of 1963 Rufus showed that there was still life in the old trouper as he released a series of driving singles calling us with unflagging energy and wit to get up off our butts and out onto the dance floor.

The most potent and memorable of these, ‘ Walking The Dog’ has become something of a Soul/R&B standard (even receiving the accolade of a cover by The Rolling Stones).

The video clip shows Rufus in full flow.

The mid 60s saw Carla and Stax records really hit their stride utilising teams of brilliant in house writers and the incomparable Booker T and The MGs as the house band.

A perfect example of the power of such collaborations is a Carla classic : B -A – B – Y. from 1966.

This pearl was authored by the great partnership of Isaac Hayes (a Teen Town alumni like Carla) and David Porter.

There’s gospel testifying here as well as soul enticement in Carla’s seductive vocal backed by a steam heat rhythm section topped off with a straight into your skull chorus – a big hit guaranteed!

The canny bosses at Stax observing the success of Motown duet partnerships like Marvin Gaye and Tammi Terrell had the inspired idea of teaming Carla with the top man at Stax and in fact the top man in soul of his era – Otis Redding.

Dubbed the King and Queen of Soul they recorded some excellent sides together including the big international hit, ‘Tramp’.

However, the track I’ve chosen to spotlight the duo is a wonderful reverie, ‘When Something Is Wrong With My Baby ..’.

Carla wisely never tries to match the inferno intensity of Otis, rather her caressing coolness offsets him perfectly making for a seriously sexy record.

I like to listen to this one with a large Gin and Tonic at hand.

Rufus and Carla were stars of the triumphant Stax/Volt tour of Europe in 1967 which has become legendary for the intensity of the artists performances and the fervour of the audience responses.

Back in Memphis Rufus continued to produce some excellent sides including, ‘Memphis Train’ and, ‘Sophisticated Sissy’ before striking gold again with a novelty dance song, ”The Funky Chicken’ which proved he had learned a lesson or two about pleasing an audience back in the Rabbit Foot days!

When it comes to selling a song Rufus has few competitors.

I have never managed to play this song only once so be prepared.

The end of the 60s closed out the glory days for both Rufus and Carla though both would record some valuable material later.

But, given the history above it is clear that singly and together they were a significant element of the magnificence of Memphis music in that golden era.

In an age of fluff and flummery it’s good to be reminded that some things and some people lived lives and made music that will always endure because it was grounded in everyday experience turned through talent and heightened expression into true art.

Now, Baby that is real!

 

popp

 

 

John Lennon, Lauren Bacall & Otis Redding : You Know How To Whistle Don’t You?

‘… You don’t have to say anything, and you don’t have to do anything. Not a thing. Oh, maybe just whistle. You know how to whistle, don’t you, Steve? You just put your lips together and … blow.’

Spoken by Lauren Bacall to Humphrey Bogart in the 1944 film classic, ‘To Have and Have Not’ these words were delivered with an alluring yet cool erotic charge in Bacall’s wonderfully husky and earthy vocal tones.

There isn’t a man alive hearing those words who didn’t immediately start practicing that whistle!

Just blow. What could be simpler?

After all what is a whistle but a clear high pitched sound created by forcing your breath through a small opening between your partly closed lips and/or your teeth?

Yet, the humble whistle which must surely have been the earliest form of musical communication practiced by mankind along with the handclap can like all forms of human language be freighted and graced with multiple meanings.

There’s, as above, the whistle of erotic appreciation and invitation.

There’s the whistle of almost subconscious reassurance when you summon that favourite tune (in my case Buddy Holly’s Everyday) as you are about to start or contemplate an especially difficult challenge or task.

A whistle can also be an urgent signal – look out! Look out!

As heard in a thousand war films as an opposing soldier looms into sight of the brave resistance band.

In sport the whistle is generally heard as the shrill admonishing marker of foul play – stop that now!

Again, the whistle can be your charm against the creeping dread we feel when confronted by our mortality – we whistle past the graveyard to keep our spirits up and those of the clutching underworld away.

When you’re absolutely sure that no one can find any fault with the work you’ve completed you can say with studied calm, ‘Take a look – you’ll see its all clean as a whistle!’

Of course, if you find as an honest person that corruption is all around you have a duty to become a Whistle Blower to bring the forces of justice and retribution hurrying down to halt and clean up that corruption.

If you don’t do that and just mutter about your outrage to yourself what are you doing but whistling in the wind!

Oh yes, the modest yet heartfelt whistle can communicate remarkably complex and subtle messages depending on the situations and characters of the whistler and the whistled to.

Ruminating on the subject has for a music fanatic like me inevitably called to mind the use of whistling in numerous songs across many genres of popular music. So many indeed that I have painfully limited myself to only four examples from the score or so that immediately came to mind.

Let’s start with the use of the whistle from a man, John Lennon, who had no difficulty with finding words but who did have problems with acknowledging and dealing with the powerful, sometimes deliberately buried emotions swirling around his deep dramatic heart and soul.

I can’t help hearing the whistle here in, ‘Jealous Guy’ as the sound of a man who has experienced too much and made too many mistakes reaching beyond words for the blessing and balm of forgiveness as much by himself as the lover he has wronged.

We may feel, sometimes, that we have the world at our feet yet we know that there will always be a part of us, shivering inside, that needs comfort and care.

Roll on John.

Next a record, ‘Handy Man’ by Jimmy Jones, that the teenage John Lennon would almost certainly have heard as he and Paul McCartney began to fashion songs and dreams of their own in Liverpool before setting out to conquer Hamburg and the known world.

Jimmy Jones, who possessed a fine high tenor voice, really only had two hits (the other being the charming and witty, ‘Good Timing’) but they were songs that still have an emotional heft beyond their undoubted power as vessels of nostalgia for the neon lit diner days of the 1950s.

The whistling here is provided by a genuine giant of popular music, Otis Blackwell, who composed jukeboxfulls of fine songs including classics like, ‘Fever’, ‘Don’t be Cruel’ and, ‘Great Balls of Fire’.

In 1966 John Sebastian the leader of The Lovin’ Spoonful was at the top of his very considerable game.

He had talent oozing from his fingertips and a sunny disposition that promised that the world was a wonderful playground where adventures a plenty were just waiting to be discovered.

He manged to be both Tom Sawyer and Huck Finn and a songwriter of considerable range and sophistication moving from the euphoric attack of, ‘Do you Believe in Magic’ to the tenderest romantic lullaby of, ‘Darling Be Home Soon’.

Sebastian provides the lovely, easy, hammock swinging whistle here in the drowsily beautiful, ‘Daydream’. May you have such a day soon!

Finally, and poignantly, I have to conclude with one of the signature songs of the 1960s from a voice for the ages. Otis Redding with the first record released after his untimely death, ‘(Sittin’ On) The Dock Of The Bay’.

The tide rolled away for Otis as it will for you and me but while we have breath this song will be his testament and our consolation.

God Bless You Otis!

 

Footnote:

Sadly since this post was written and published Lauren Bacall died.

I dedicate this post to the memory of wonderful actress and hell of a broad who created more than her fair share of Immortal Moments.