Blood, Sweat and Tears

I recently realized I had never posted any songs by BS&T (as they used to be called, and everyone knew the acronym too). These are two songs you won't hear on the oldies radio stations.

I never noticed there are (gasp) VIOLINS in this song. Sung and co-written by Al Kooper, who would soon depart the band, I just adored this record and listened to it every single day when I was about 13 years old. Which is probably why I never noticed the violins. The melody is lovely!

I Can't Quit Her - Blood, Sweat and Tears



And this is the Blood, Sweat and Tears most of you will remember; BEAUTIFUL BIG BRASS NOISE, headed up by singer David Clayton-Thomas.

Go Down Gamblin - Blood, Sweat and Tears

Monday Music

I miss my mama, who loved this song. I think she identified with the naughty girl in the song.

Warning: its PURE country, which means its pretty sexist. None of this nicey-nice American Idol-assimilated stuff!

Joe Maphis was very talented in the Chet Atkins-style, "thumb-picking guitar" that my stepfather also specialized in. (also described HERE) My parents also played this song in their band.

Nostalgic.

~*~

Dim Lights, Thick Smoke (And Loud Loud Music) - Joe Maphis (1953)



~*~

My tags tell me I've never blogged a Dire Straits song! Really?! ((shocked expression)) Corrected forthwith!

This is my favorite Dire Straits song. I love it whole bunches and have since I was 21 years old.


Water of Love - Dire Straits (1978)

Work Song

I have never posted this before, and just realized it! My deepest apologies! Its one of my very favorite pieces of music, originally written by jazz trumpeter Nat Adderley. My parents' band also played it. Everybody played it in the 60s, at some point.

As regular readers know, I loved the late, great Mr Mike Bloomfield, and his Chicago blues-guitar sounded just phenomenal here.

Work Song - Paul Butterfield Blues Band

Tuesday Tunes

I can't decide between the studio and live versions of Todd Rundgren's "Couldn't I just tell you"--so here are both of em. :)

I saw Todd Rundgren twice in the 70s (once at the infamous Legend Valley Jam) and this lovely tune was the definite high point for me on both occasions.

Couldn't I just tell you - Todd Rundgren (studio version from Something/Anything, 1972)



Couldn't I just tell you - Todd Rundgren (live at the Bottom Line, 5/14/78)



~*~

This video contains lots of nice vintage shots of Stills' entire career... I was attempting to find the heartbreakingly-sublime acoustic version of "Singin Call" by itself, but could only find these two songs joined as a duo. Looks like I'll have to settle for that!

"Singin Call" starts at approx the 4 minute mark, if you want to skip ahead.

You know you got to run/Singin Call - Stephen Stills (1973)

Sherry Darling

This is what we used to call a "rave-up"--after much investigation, I still can't find out where it was recorded, but it sounds like it was performed live in some South Jersey saloon. The song was originally recorded for "Darkness on the Edge of Town"--but ended up on the subsequent album "The River" instead. The real puzzle is why someone didn't release it as a single and make trillions of dollars.

I challenge you to name the last rock song you heard in which a guy complains that he has to take his girlfriend's mom to the unemployment office and she's talking too much. Ahhh, working class Bruce, that is one reason we loved him.

Once upon a time, I played this tune every single day before I went to work ... it was as good as coffee. :)


Sherry Darling - Bruce Springsteen and the E Street Band

Tuesday Tunes: Walking in Rhythm

Donald Byrd & The Blackbyrds - Walking in Rhythm

You Wear it Well

You Wear it Well - Rod Stewart (1972)



Them homesick blues and your radical views
Haven't left a mark on you

Donna Summer 1948-2012

On the Radio - Donna Summer (1979)



Last Dance - Donna Summer (1983)



The soundtrack of our youth; cross-country trips, late nights, friends meeting, parties and picnics... goodbye, old friend.

Nature's Way

Nature's Way - Spirit (1970)

Dick Clark 1929-2012

In this post only nine days ago, I briefly mentioned the Rolling Stones concert in San Francisco. One thing I remember from that show is a couple dancing together (very well), and when they finished, someone shouted out, "Let's hear it for couple number 14 from Milwaukee!" and everyone standing around applauded, whistled and laughed appreciatively.

I realized that a lot of Americans would not get that joke now. And it made me sad.

His name was Dick Clark, and we grew up with him. Now he is gone, along with his black counterpart, Don Cornelius. And with them passes a whole way of life, memorialized in musicals like Grease: young people dancing on live TV to the popular songs of the day.

Upon hearing of Clark's passing, my first thought was the 'tribute song' by Barry Manilow (a remake of Les Elgart's big-band original, with updated lyrics mentioning the show and Clark by name)-- which Clark liked so much he closed out American Bandstand with it from 1977 until the show's demise.

The song sums it up.

Bandstand Boogie - Barry Manilow



(He actually starts DANCING in the middle, and then continues singing. I very much doubt he smoked!)

We're goin hoppin
we're goin happin
Where things are poppin
The Philadelphia way
Were gonna drop in
On all the music they play
On the Bandstand

Bandstand, bandstand, bandstand

Hey! I'm makin my mark
Gee, this joint is jumpin
They made such a fuss
just to see us arrive
Hey, it's Mister Dick Clark
What a place you've got here!
Swell spot, the music's hot here
Best in the east,
Give it at least
A seventy five!

And as you know, lots of the songs were worth the whole hundred percent. :)

This list gives you a partial idea of the impact of American Bandstand on mass media and pop culture.

Goodbye Dick, and thanks for the jams.

Cover of the Rolling Stone

Hilarious old song written by Shel Silverstein, explaining how rock stars have all the friends that money can buy, so they never have to be aloooone.

A real gem from the 70s, enjoy.

Cover of the Rolling Stone - Dr Hook and the Medicine Show

We should be on by now

Time - David Bowie



The terribly-infectious li-li-li's at the end of this song, have gotten me through lots of heavy traffic, blood donations and similar unpleasant events. They shall undoubtedly follow me as I am lowered into the grave. :)

Tuesday linkage

Stuff you should be reading:


flyover or drivethrough country? a little about class and air travel: And how do you feel about that snotty term, "flyover country"?

Josh Horwitz on the Secret Market Segments of the Gun Manufacturers: Mike asks the pertinent question, if the gun lobby and gun manufacturers are going to such great lengths to conceal the exact numbers of sales, what are they up to?

Behold the most racist political ad of the year: You've been warned. It appears they managed to locate Charlie Chan's long-lost daughter, to do this awful commercial.

Merck pays a pittance for mass deaths: Question: Who killed more Americans —al Qaeda crashing airplanes into the World Trade Center, or Merck pushing Vioxx? Answer: Merck, by a factor of 18. Are you surprised?

Human Rights Campaign's New York Gala Dinner Protested By Queer Occupy Wall Street Group: On Saturday, a subset of Occupy Wall Street protesters calling themselves "Queer/LGBTIQA2Z Occupy Wall Street" protested the Human Rights Campaign (HRC) gala dinner at New York's Waldorf Astoria hotel because the organization was honoring Goldman Sachs.

Dennis Kucinich v. Marcy Kaptur: How GOP Redistricting Will Force Out a Top Progressive Congressmember: Two of the best in congress, which one would you choose? I have much empathy for my home state on this one.

Chris Hayes: Why Clint Eastwood’s commercial devastates Republicans: For the life of me, I can't figure out all the hoopla over the SuperBowl Clint Eastwood commercial. Hayes explains it.

Madonna, M.I.A., 'Bad Girls': The Dangers of Co-Opting Cool: As I stated yesterday, there were more tweets about M.I.A. flipping the audience the bird during the SuperBowl, than about the entire war in Afghanistan. I mean, you know, a star flipping the bird on live TV is big news. Everybody wants to know why she did it, and Joshua Ostroff explains why. (Although I did have to leave a post, correcting his iconography.) In addition, she may face a hefty a FCC fine.

Newt Gingrich's last comeback: (screams) Oh no, not another one.

I have always intended to link this great blog that you should visit every day: A PHOTO A DAY FROM PLANET EARTH. They're always outstanding!

And we end with another incisive observation from the Dalai Lama, courtesy of Mills River Progressive.

~*~

Sitting in an old Midwestern dining room with curtains flapping in the breeze. Where was it? Not my house. But it was dusk and the strong spring scent of lilacs flowed through the room. I remember peering out the window, but I don't remember the view. I do remember the song. :)

Warning: it's old and was obviously recorded right off the psychedelic teevee. This version (with embedding disabled) is more listenable than the one below, which ain't saying much.

My apologies for poor quality, but of COURSE it would have poor quality. :)

Blues Magoos - We Ain't Got Nothin Yet

Another fine mess

Kurt Vonnegut dedicated his 1976 novel Slapstick "to the memory of Arthur Stanley Jefferson and Norvell Hardy, two angels of my time."

Ah, weren't they, though?

Laurel and Hardy - Water fight clip



It took me a long time to find one that features Stanley starting to cry! (@ 2:14) I always adored them both, but Stanley's funny crying gave him the edge, and he was my favorite.

Ohio Players album covers

... were amazing, proudly artsy and pretty dirty, too. (I'm so glad Tipper Gore and the fabled PMRC wasn't around to police us in the 70s.) Did the powers-that-be know about these album covers?

Although pioneering-funk band The Ohio Players (whom I was wildly fortunate to have seen live in 75, rocking the proverbial house!) had #1 hits, these eye-popping album covers seemed to stay under the radar. I remember seeing one of them in a very conservative, old-school Midwestern drug store, another at a truck stop that sold lots of coffee mugs with Bible verses on them. You just had to wonder.

At left, the cover of PAIN, which when opened up, looked like THIS. Coupled with PAIN was, of course, PLEASURE. Finally (and what did you expect?) there was both ECSTACY and ORGASM. That last one, with the metal (is it metal?) dildo popping out of the guy's back, blew my little mind.

Enjoy the linkage-gallery of nostalgic, nasty images; beware questionable taste, probably NSFW.

~*~

And now we go to the video!

Although we are given to believe "skin tight" refers to a woman's jeans, I don't think it does... or rather, I don't think that is the only thing he is talking about. Just a lucky guess!

I remember an interminable ride on the Interstate, primarily saved by these fabulous jams. For this reason, I prefer the long version of this funk masterpiece, which I play in heavy traffic or late at night. Therefore I insist on foisting the original long-ass version on all of you. This is what funk is supposed to sound like! (Yes, you really should listen to all eight-and-a-half minutes for the full 70s experience.)

PS: The guy making this video can't resist showing us the album cover, LOL.

Ohio Players - Skin Tight



Gone, gone, gone with your bad self.

Onward and Upward

At left: Occupy Greenville has kept our plucky heroine from dissolving into hopelessness during her long period of unemployment this year: THREE CHEERS FOR THE OCCUPY MOVEMENT, which has restored many folks' faith in America.

~*~

I used to wonder why people (usually women) deleted their blogs. No longer. I get it now.

As net-denizens Google various religious-and-Christmas-oriented-posts I have written over the past four-and-a-half years, I feel theologically and emotionally bereft. I was so certain, and now I am not.

Or rather, I am certain that uncertainty is the state of humanity. I no longer unequivocally declare that particular existential points of dogma are true, except to say, this is what I feel right now. This is what I believe is true right now.

And this is, in fact, what we are always saying, we just don't seem to realize that our personal truths collide over time. We re-arrange the biography to make our wildly different, disparate truths make sense. But they simply don't.

This is because we are not the same people we were.

The person that started this blog is me, yet it is another me, a past-me. I do not agree with everything the past-me wrote, in fact, I wince at a good deal of it. I can understand why people feel the need to delete that which makes them embarrassed and makes them wince. And women, specifically, can find this nearly intolerable. On the above-linked thread, Feminist Avatar wrote:

I almost deleted my blog as I was fed up with discussions going on in my online community, which I disagreed with and felt had been done so many times before, with no resolution. And, my gut response was- get out of here- and I think I saw leaving my blog up as leaving a part of myself 'there'; in that conversation, even tho' I wasn't and hadn't posted in ages.

A wiser person than me once said that women were more reluctant to 'let go of the authorial signature' than men (that is to stop owning their words- seeing cultural products as a creation of society and context rather than individuals), because they had only recently won the right to own them in the first place (ie women's right to a public voice is historically new and hard won). Perhaps, as a result, when we need to walk away from particular online communities or just the internet as a time suck, we feel we can't leave something of ourselves there- we can't stop owning our words (even if they may be out of date or not where we are any more). And perhaps, because of that sense of ownership, if we move beyond those ideas or no longer agree with them, we also can't leave them out there, as it is no longer us.

Yes, I understand that, as well as the Buddhist concept of impermanence.

~*~

I nearly titled this post "Can Ron Paul win the Iowa primary?" and then thought the better of it. Nah. But I am once again voting strategically for the good doctor, as I did in the last South Carolina Republican primary four years ago.

I heartily recommend Conor Friedersdorf's piece in The Atlantic, titled Grappling With Ron Paul's Racist Newsletters--currently up to a whopping 633 comments. The money quotes:

Do I think that Paul wrote the offending newsletters? I do not. Their style and racially bigoted philosophy is so starkly different from anything he has publicly espoused during his long career in public life -- and he is so forthright and uncensored in his pronouncements, even when they depart from mainstream or politically correct opinion -- that I'd wager substantially against his authorship if Las Vegas took such bets. Did I mention how bad some of the newsletters are? It's a level of bigotry that would be exceptionally difficult for a longtime public figure to hide.

For that reason, I cannot agree with [The Weekly Standard's Jamie] Kirchick when he concludes that "Ron Paul is not the plain-speaking antiwar activist his supporters believe they are backing -- but rather a member in good standing of some of the oldest and ugliest traditions in American politics."

On the other hand, it doesn't seem credible that Paul was unaware of who wrote the execrable newsletters, and although almost a million dollars per year in revenue is a substantial incentive to look away from despicable content, having done so was at minimum an act of gross negligence and at worst an act of deep corruption. Indeed, Paul himself has acknowledged that he "bears moral responsibility" for the content.

Given its odiousness that is no small thing.

For the record, I certainly agree. I also agree with this quote--although regular readers might recall that as a true believer, I defended both Jeremiah Wright AND Bill Ayers:

For me, the disconnect between the Ron Paul newsletters, which make me sick, and Paul's words and actions in public life, which I often admire, put me in mind of the way I reacted when candidate Barack Obama was found to associate with Jeremiah Wright and Bill Ayers, both of whom had said execrable things. I couldn't defend any of it. But I could never get exercised about the association in exactly the way that writers like Victor Davis Hanson wanted, because it seemed totally implausible that if Obama was elected he would turn out to secretly share the convictions of the Weather Underground, or hope for God to damn America. It always seemed to me that those relationships were the unsavory product of personal ambition. I don't mean to suggest that the two circumstances are entirely analogous, but I do find it hard to believe that if Paul were elected, he'd turn out to be a secret racist, implement policies that targeted minorities, or drum up support by giving speeches with hateful rhetoric.

And then, he makes the points I wish I had been smart enough to make, says the things I wish I had been smart enough to write. YES!:

[Congressman Ron Paul] has a long history of doing what he says when elected, and no more.

"How could you vote for someone who..."

Isn't that a thorny formulation? I'm sometimes drawn to it. And yet. We're all choosing among a deeply compromised pool of candidates, at least when the field is narrowed to folks who poll above 5 percent. Put it this way. How can you vote for someone who wages an undeclared drone war that kills scores of Pakistani children? Or someone who righteously insisted that indefinite detention is an illegitimate transgression against our civilizational values, and proceeded to support that very practice once he was elected? How can you vote for someone who has claimed to be deeply convicted about abortion on both sides of the issue, constantly misrepresents his record, and demagogues important matters of foreign policy at every opportunity? Or someone who suggests a religious minority group should be discriminated against? Or who insists that even given the benefit of hindsight, the Iraq War was a just and prudent one?

And yet many of you, Republicans and Democrats, will do just that -- just as you and I have voted for a long line of past presidents who've deliberately pursued policies of questionable-at-best morality.

In voting for "the lesser of two evils," there is still evil there -- we're just better at ignoring certain kinds in this fallen world. A national security policy that results in the regular deaths of innocent foreigners in order to maybe make us marginally safer from terrorism is one evil we are very good at ignoring.

Prison rape is an evil we're even better at ignoring.

It is a wonderful thing that Americans are usually unable to ignore the evil of outright racism. It hasn't always been so. The change is a triumph. But important as rhetorical issues of race and ethnicity are in America, we're by necessity choosing the lesser of two -- or three or seven -- evils when we pick a candidate. And so it's worth complicating the moral picture with some questions we don't normally consider when we talk about race.

For example: What American policy most hurts people who'd be a minority group in this country? I'd say cluster bombs, missiles and bullets that inadvertently kill them while we try to kill terrorists or convert tribal or sectarian societies into democracies. Or perhaps an even graver harm is done by the subsidies we give to agribusinesses, destroying Third World agricultural markets and opportunity. To think of the damage done over the decades by sugar dumping in Haiti alone! And isn't it uncomfortable to think about how race and nationality is implicated in the priority we assign to folks who suffer from the aforementioned policies? The policies aren't rooted in personal racism, like the lines in racist tracts -- sugar dumping is rooted in an amoral agricultural lobby that wants to enrich itself -- yet it's hard to imagine such policies would persist as uncontroversially if "people like us" were the victims.

In the U.S., the War on Drugs arguably does the most grave damage to poor communities, especially in black and Latino neighborhoods, where the majority of arrests take place, though whites use drugs more often. The greatest threat to an ethnic minority in the United States isn't that doctrinaire libertarians are going to reverse the Civil Rights Act -- it's that Muslim Americans or immigrants are going to be held without trial in the aftermath of a future terrorist attack because we've allowed our and their civil liberties to erode.

Were it 1964, I'd never vote for Paul, precisely because my desire to protect and expand liberty would've placed the highest priority on the passage of the Civil Rights Act. Paul once said in a speech that "the forced integration dictated by the Civil Rights Act of 1964 increased racial tensions while diminishing individual liberty," despite the fact that it clearly enhanced the individual liberty of blacks, the group the state was most implicated in transgressing against.

But it is not 1964. Other injustices better define our times. In 2012, when accused terrorists are held indefinitely without charges or trial, and folks accused of drug possession have their doors broken down by flash-grenade wielding SWAT teams in no-knock raids, Paul would arguably protect the rights of racial, religious or ethnic minority groups better than Obama, regardless of whether Paul is now or ever was a racist, and irrespective of the fact that Obama, as the first black president, has in some ways transformed Americans' thinking on race. (LBJ, who signed the Civil Rights Act, was not know for his personal progressivism on race or women's rights, but he nonetheless backed policies that had powerful consequences for women and minorities).

What I want Paul detractors to confront is that he alone, among viable candidates, favors reforming certain atrocious policies, including policies that explicitly target ethnic and religious minorities. And that, appalling as it is, every candidate in 2012 who has polled above 10 percent is complicit in some heinous policy or action or association. Paul's association with racist newsletters is a serious moral failing, and even so, it doesn't save us from making a fraught moral judgment about whether or not to support his candidacy, even if we're judging by the single metric of protecting racial or ethnic minority groups, because when it comes to America's most racist or racially fraught policies, Paul is arguably on the right side of all of them.

Read it all, and at least a few of the hundreds of brawling comments, well worth your while if you care about the Republican primary and the next election.

~*~

Check out our show tomorrow, where we will be doing a year-end round-up. In upstate South Carolina, join us at 9am on WFIS radio, 1600 AM and/or 94.9 FM on your radio dial. We have online streaming, so drop by.

And winding up with some holiday tackiness/nostalgia. At left: The Great Southern Shopping Center in Columbus, Ohio, my hometown. As you can see by the cars, this photo was probably taken some time in the early-to-mid 60s, and certainly, my fondest Christmas-shopping memories come from this period. (This shopping center was only a short distance from one of my very favorite and beloved Drive-In movie theatres, which I know I have rhapsodized about here before.)

The shopping center featured the SEVEN WONDERS OF THE WORLD in miniature, and we used to walk around them as kids, taking photos and gawking as if they were real. Surely, this was as close as most of us were ever going to get. My absolute favorite was the Taj Mahal, which apparently even had real water for awhile, but mostly I remember dried-up water with dirt and leaves in it. Unfortunately, my dogged net-searches could NOT bring up the Taj Mahal or Eiffel Tower, presented right alongside Woolworth's and hardware stores and everything else. At Christmas time, the tacky Christmas lights and faux-evergreens were draped around the SEVEN WONDERS OF THE WORLD, and we thought it was the greatest thing we had ever seen.

Confession: I still think it was, but I have since learned how uncool it is to say so.

Thanks to Otherstream for the photo of little-Pisa, which brought back a nice Christmas memory.

PS: And if you have never read Truman Capote's amazingly wonderful A CHRISTMAS MEMORY, you should. Too wonderful for words, but get out those kleenex.

Time to get it, before you let it get to you

A quick round-up of Daisy's latest earworms.

I heard this two weeks ago and it hasn't stopped torturing me yet.

My parents used to sing it. :)

Does anyone know who is harmonizing with her? Mandolin-player? What is the line-up of this particular band? SPEAK UP, DEADHEADS!

Emmylou Harris - If I could only win your love



EDIT: Eagle-eyed (eared?) reader, Blue Heron, spotted VINCE GILL on mandolin. I didn't know he could even play mandolin, but I did think it sounded like him on the last verse. THANK YOU!


~*~

I have tried to post this for OVER FOUR YEARS--ever since I started blogging... usually I would find the video and it would get yanked by nightfall.

SO LISTEN NOW, before evil greedheads snatch it away again.

Greatest guitarist in the history of the world, his unique playing seemed to replicate the way emotions swirl in the heart. That's why we can't really say what it is about his work that moves us so much. It bypasses our critical centers and goes straight for that part of us that is most human.

After he sings the word, "anything"--he plays the CONCEPT of "anything" and what that feels like to us.

Jimi Hendrix - Little Wing



~*~

This haunting song totally hypnotized me as a lovesick 18-year-old, and made me cry and everything. I had no idea what it was about, except it seemed that the narrator had escaped death or was contemplating it. From Wikipedia:

The third and final single [from the album "Stampede"] was Patrick Simmons' "I Cheat the Hangman", released November 12, 1975. It is a somber outlaw ballad that was inspired by the story "An Occurrence at Owl Creek Bridge" by Ambrose Bierce. "It's about a ghost returning to his home after the Civil War and not realizing he's dead," said Simmons about the song. The album version of the song is a progressive rock-style composition ending in a twisted collage of strings, horns and synthesizers made to sound like ghostly wails. "We'd cut the track, and we kicked around how to develop the ending-I thought about synthesizers and guitar solos. Ted [Templeman] got to thinking about it, and he ran it past [arranger] Nick DeCaro for some orchestration ideas. 'Night on Bald Mountain' by Mussorgsky really inspired the wildness of the strings, and Nick came up with the chorale thing at the end." The ambitious "I Cheat the Hangman" only managed to reach #60 on the music charts.

Doobie Brothers - I Cheat the Hangman



~*~

Last time I tried this one, also got yanked. LISTEN NOW.

Does it make you feel old? Then you are. :)

And its where we get today's blog post title.

Sonic Youth - Teenage Riot



Ah, here it comes
I know it's someone I knew

Nothing can change the shape of things to come

A classic DEAD AIR rerun from 2007, because I really wanted to hear the song: bringing you classic NOSTALGIA with Max Frost and the Troopers, a fictional band made up for the movie WILD IN THE STREETS.

Wild in the Streets (1968) was a super-fabulous B-movie about adult paranoia circa 1968, as the kids lower the voting age to 14, feed LSD to everyone over 30, and take over the country. Christopher Jones, beautiful ex-husband of Susan Strasberg, brazenly channels Jim Morrison, and gives us this fantastic Doors-as-garage-band song (by brilliant songwriting duo Barry Mann and Cynthia Weil), which ominously reminds us that Nothing Can Change the Shape of Things to Come. Ain't it the truth.

The kids elect Max president in the movie, which doesn't bode well, as you might imagine.

And if your kids try to get you to drink anything suspect, REFUSE IT!

~*~

Max Frost And The Troopers - Nothing Can Change the Shape of Things to Come

Tuesday Tunes: Woodstock

I guess I shoulda waited until the anniversary of Woodstock next month to post these various versions of the song... but when I found all three versions on Youtube, I got excited and impatient.

As we know, all three could disappear by August, due to ongoing record company greed. So, I decided to post them now.

Which version do you like best?

~*~

First, the author's version.

Woodstock - Joni Mitchell



~*~

Second, the movie soundtrack version.

Woodstock - Crosby, Stills, Nash and Young



~*~

And finally, one of Daisy's special (and little-known) fangirl versions, with fabulous mystical loop-de-loop guitar riffs, played all over the place in 1970 and mostly forgotten since.

I know, musical heresy, but this is my favorite version of the song!

Woodstock - Matthews Southern Comfort (great visuals!)



Enjoy!

Let's swim to the moon

At left: Ben Hall, at Bohemian Cafe on Saturday.



One of those things about age that makes me profoundly uncomfortable: I get sentimental very quickly.

Like, really sentimental.

It overtakes me suddenly, and there I am, shedding tears over seemingly peculiar, unrelated or odd events. Such as Ben Hall and his guitar playing. Which was just like my late stepfather's. (Note: although the outdated link claims Ben is 18, he has now reached the ripe old age of 22.)

Until I was sitting there listening to Ben, whom I hadn't heard before, I didn't realize I had unconsciously avoided the music of Chet Atkins for a reason... I was suddenly aware that the "thumb-picking" guitar-style of Ben's, was the same as my stepfather's. I have avoided it for many years, flipped radio channels and such, because it made me so emotional. And as Ben described his style of playing, I thought, oh no... because I probably would have avoided his fabulous guitar playing if I had known.

I listened, and promptly got all teary-eyed and emotional. It is so embarrassing, reminding me of a line from Colonel Kurtz in Apocalypse Now: "I cried like some grandmother." Yeah, I guess he means me. I have arrived!

Does any music do that to you?

Here is Ben's playing, the signature thumb-pickin style.

Cannonball Rag - Ben Hall



~*~

This song is as old as I am, seriously... careful, its about death, and way before the Doors made drowning at night sound sexy and existential.

I can hardly believe its taken me this long to post it!

Endless Sleep - Jody Reynolds



~*~

And speaking of the Doors, here is the 60s version of drowning for fun:

Moonlight Drive - The Doors



Let's swim to the moon
Let's climb through the tide
Penetrate the evening that the
City sleeps to hide
Let's swim out tonight, love
It's our turn to try
Parked beside the ocean
On our moonlight drive

Let's swim to the moon
Let's climb through the tide
Surrender to the waiting worlds
That lap against our side

Nothing left open
And no time to decide
We've stepped into a river
On our moonlight drive

~*~

Sorry so morbid, but its been a rather morbid week in America, yes? ;)