But his song does pop into the ol’ brain case now and then. Back in the day I was a fan of CDB. I drifted away from his music for no particular reason, just changing tastes I guess. But this along with The Ballad of the Uneasy Rider are still on my playlist. Even if he does spell Trudie wrong (see the link above).
Charlie was a damn good musician, although his twang distracts from the vocals for me. He could play that fiddle something fierce. I have several big cowboy hats like his. Plus a really nice Stetson my late, great mother-in-law bought me in New Orleans back about 1995.
This video reminds me of The Allman Brothers so much. With the two drummers and dual lead guitars. The song itself isn’t all that complicated, but I can’t play it. I can’t grow a beard that bushy, so I don’t qualify. Guess that means ZZ Top won’t be calling anytime soon either…
P.S. I’ve got a new genealogy blog now. The link is down below!
Saturday afternoon while I was do a little genealogy this played on the Classic Vinyl station. I am very familiar with this song, it is a George Harrison original after all, but not this version. A quick look at the channel guide showed me it was George and his best pal Eric Clapton. I immediately brought up YouTube to see if I could find a video. I did find a video for the two guitar gods playing together, but it didn’t sound quite right.
On the cover I heard, the vocals were really nicely balanced. George’s lead vocal had more presence than both the original by The Beatles and this live video I had found. It took a few changes to my search terms, and some scrolling to find at least the proper vocal mix. If you go to the YouTube page for this song it says it is a 2004 remix of a 1991 concert from Japan. The bootleg concert video (here) is interesting in seeing the interplay of George with the audience at the beginning, and of course to see Eric play in his usual laid-back style. They didn’t call him slow hand for nothing.
The album Live In Japan features this track, and Eric also preformed it at the Concert For George tribute concert to Harrison in 2002.
The video I’m using is boring, true. But I used it because of the superior audio quality. I hope you enjoy it as much as I!
P.S. I’ve got a new genealogy blog now. The link is down below!
Today is one of those days when I have a medley of songs stuck in my head. It was a difficult choice to pick just one of the songs bouncing around inside my noggin, but I picked this one. Not really sure why. Ringo Starr’s Act Naturally (with Buck Owens) was also a major contender.
If I had to come up with a single reason for this song over Ringo’s it would have to be the husband and wife duo of singer-songwriters. I guess this post could fit under that theme as well.
What a list of backing band members! In Eric Clapton’s autobiography, he credits the late Delaney Bramlett with scaring him to broaden his music. Eric really only wanted to be a guitar player, but Delaney thought he should go solo and sing as well. “If you don’t use all your talents, God will take them away” was Delaney’s warning (paraphrased as I no longer have the book to get an exact quote).
All this happened while D&B were touring with Eric’s band Blind Faith.
On the strength of Accept No Substitute, and at his friend Harrison’s suggestion, Eric Clapton took Delaney & Bonnie and Friends on the road in mid-1969 as the opening act for his band Blind Faith. Clapton quickly became friends with Delaney, Bonnie and their band, preferring their music to Blind Faith’s. Impressed by their live performances, he would often appear on stage with Delaney & Bonnie and Friends during this period, and he continued to record and tour with them following Blind Faith’s August 1969 breakup. Clapton helped broker a new record deal for Delaney and Bonnie with his then-US label, Atco (Atlantic) Records, and performed (with Harrison, Dave Mason, and others) on Delaney and Bonnie’s third album, the live On Tour with Eric Clapton (Atco; recorded in the UK, 7 December 1969, and released in North America in March 1970). This album would be their most successful, reaching #29 on the Billboard 200, and achieving RIAAgold record status. Clapton also recruited Delaney and Bonnie and their band to back him on his debut solo album, recorded in late 1969 and early 1970 and produced by Delaney.
So, what song did I pick you may be asking yourself.
“Never Ending Song of Love” is a song written by Delaney Bramlett, and, according to some sources, by his wife Bonnie Bramlett. It was originally recorded with his band, Delaney & Bonnie & Friends, in 1971 on the album Motel Shot. Released as a single by Atco Records the same year, “Never Ending Song of Love” became Delaney & Bonnie’s greatest hit on the pop charts, reaching a peak of #13 on the Billboard Hot 100 and number eight Easy Listening. It reached #16 in Australia.
I awoke this morning to the news that Jackson Browne has tested positive for the novel coronavirus, COVID-19. I guess that’s why several of his songs have been playing in my head since yesterday evening. It was tough to pick just which song to highlight. I choose this one on the strength of the lyrics alone.
If my memory is correct (and it just may not be), my brother introduced me to Jackson’s music about 1975 or so. I remember we were working on the roof of the house I grew up in and my parents and I were living in. I had a small radio (this was before the days of “Boom Boxes”) and Redneck Friend was playing. I started laughing at the chorus;
Honey, you shake, I'll rattle, we'll roll on down the line
See if we can't get in touch with a very close friend of mine
But let me clue you in, it ain't like him to argue or pretend
Well, honey let me introduce you to my redneck friend
Naturally that started my brother (always the teacher) to give me an hour-long lecture, I mean history of Mr. Browne and his music. I was hooked. And I wasn’t the only one.
Guitar hero #2 (listed chronologically) would have turned 77 today. Instead we lost George Harrison in 2001, just 6 days after my mother passed. He was only 58 when he died from cancer.
But let’s not dwell on the loss. George has always been my favorite Beatle. It was my just older sister that fostered this view. She was a big George fan, and since she was the closest in age to me (but still 8 years older), I adopted her choice, and George has always remained my favorite.
I do appreciate George’s sitar playing, but it can be very overpowering at times. I currently have SiriusXM’s Beatles channel playing. Naturally they have specials featuring George’s music all day long. Within You Without You is playing as I type this. As I told my brother just earlier today, the sitar works so beautifully in this piece. My brother doesn’t care for any sitar. He’d rather George stay with his guitar. I can’t really blame him.
My brother and I also talked about how George’s playing changed over the years. George may not have started as the most innovated guitarist but is definitely one of the most copied guitarists.
The song I picked for today comes from George’s first solo album released after the breakup of The Beatles. And what an album it is, a triple album. George had so much material that never made it on to a Beatles release it took three discs to contain it all. This track was recorded, but not used, for The Beatles Let It Be album. It was also recorded by keyboardist Billy Preston.
During the final year of his life, Harrison oversaw a successful reissue campaign to mark the 30th anniversary of the album’s release. After this reissue, the Recording Industry Association of America certified the album six-times platinum. Among its appearances on critics’ best-album lists, All Things Must Pass was ranked 79th on The Times‘ “The 100 Best Albums of All Time” in 1993, while Rolling Stone placed it 433rd on the magazine’s “500 Greatest Albums of All Time“. In 2014, All Things Must Pass was inducted into the Grammy Hall of Fame.
As I’m sure you know be now, most days I have no idea why a particular song is stuck in my head. And today is no different.
This song has been a favorite of mine even before I understood what the title meant. I like the rhythm to the song, and at around 12 years of age when it was released, the repetitive lyrics of the chorus were very catchy.
The track was recorded at Trident Studios, London, and the piano on the record was performed by either Rick Wakeman or Blue Weaver. Mark Paytress notes that both pianists may have played separate parts on the song, with Wakeman contributing only the piano glissandos that feature several times throughout the song. Wakeman, who was desperate for work at the time to pay his rent, had bumped into Bolan in Oxford Street, who offered him the session. Wakeman pointed out to Tony Visconti that the record did not actually need a piano player. Visconti suggested that he could add a gliss. Wakeman said that Visconti could do that, to which Bolan replied, “You want your rent, don’t you?” Wakeman did, and earned £9 for his efforts.
Faithful readers (I do have a couple of faithful readers, right? RIGHT??), will remember that I do not start the “Christmas Season” until two things happen. First, I have to hear John Lennon’s, Happy XMas (War Is Over) and we’ve seen National Lampoon’s Christmas Vacation.
We can control when we watch the movie, but hearing the song has a more strict requirement. I have to hear it while out of the house, and it can’t be played at my request. It just has to be on a random playlist, usually while shopping. But this year, I’ve only been to the mall once, and even then I never left the little pub. I still can’t walk long distances, so I sat and had a few beers while Wifey and son-the-younger did the shopping.
As usual, I do most of my shopping, holiday or not, on-line. Since Amazon doesn’t have background music like the mall stores do, the chance of hearing Happy X-Mas is slim to none. And Slim just walked out the door.
We did go to Wifey’s office Christmas party last night and they had Christmas music playing in the background. The song may have played, but luckily they had the volume low enough that I could only catch brief bits of the music hear and there. So I don’t know if it played or not. They didn’t have the old standards playing so it may have, but I didn’t hear it.
If you haven’t caught on by now, I really, really, really don’t like the usual Christmas music. Granddaughter-the-elder had her class Christmas program earlier this week. It was quite enjoyable. Other than the hand bell part, which was the old standards, the rest of the program was new music. They even did We Will Jingle, set to the tune of Queen’s We Will Rock You complete with foot stomps and hand claps. That was cool. And even better my wee bonnie lass had a small speaking part and she nailed it!
I’m thinking we will probably watch the movie this weekend. I’m sure it’s available on one of the streaming services I pay for. If not, Pay For View is always an option. As long as I can find it without commercial interruption. I absolutely despise commercials.
Today is also the Army Navy football game. This is probably the only football game I care about. And even then, not that much. I won’t watch the game since son-the-elder is currently overseas with his Army unit. But as an Army retiree, I have to say #GoArmyBeatNavy.
What are your holiday requirements and/or traditions? Get the conversation started by leaving a comment!
P.S. Wifey has the old The Monkee’s TV show playing while I’m writing this, so here’s a totally unrelated video…
P.P.S. The Monkees have ended and the old Partridge Family show has come on. Wifey said she didn’t remember how ugly the clothes were back then!
P.P.P.S. This is, what day 14 of the “official” Christmas season and not a single bit of the craptastic music has been played. ‘Nuff said.
Yes! This is a wifey post! Well, she’s not really doing the post, but she did give me the song. And that counts. So there!
From the Wiki page:
The song is about two boys (“Me and Julio”) who have broken a law, although the exact law that has been broken is not stated in the song. When “the mama pajama” finds out what they have done, she goes to the police station to report the crime. The individuals are later arrested, but released when a “radical priest” intervenes.
The meaning and references in the song have long provoked debate. In a July 20, 1972 interview for Rolling Stone, Jon Landau asked Simon: “What is it that the mama saw? The whole world wants to know.” Simon replied “I have no idea what it is… Something sexual is what I imagine, but when I say ‘something’, I never bothered to figure out what it was. Didn’t make any difference to me.”
More recently, in October 2010, Simon described the song as “a bit of inscrutable doggerel“, while the “radical priest” has been interpreted as a reference to Daniel Berrigan, who was featured on the cover of Time on January 25, 1971, near when the song was written.
The song is from Paul Simon’s 1972 self-titled studio album. Which had another of my favorite Paul Simon tracks, Mother And Child Reunion. Wifey says the lines; “And it’s against the law, it was against the law What mama saw, it was against the law“, are what’s stuck in her mind.
I’ve always thought it was a political act that got those two in trouble, hence the line about being released by a radical priest. Wifey says “It’s drugs. Pure and simple.” But as the quote above from Paul says, even he doesn’t know. It doesn’t take a complete story to make a good song. Just a great concept and you’re off to the bank! The song topped out at #7.
Personally, I just love the rhythms throughout the song. Enjoy!
I was saddened to hear of the death of George “Pops” Chambers earlier this week. George was of course, part of the late 60’s and 70’s “soul” band, The Chambers Brothers. The news immediately brought this song to mind, and it’s been in and out of consciousness ever since.
Originally from Carthage, Mississippi, the Chambers Brothers first honed their skills as members of the choir in their Baptist church. This set up ended in 1952 when the eldest brother George was drafted into the Army. George relocated to Los Angeles after his discharge, and his brothers soon settled there as well. As a foursome, they began performing gospel and folk throughout the Southern California region in 1954, but they more or less remained unknown until appearing in New York City in 1965.
Consisting of George (September 26, 1931 – October 12, 2019) on washtub bass (later on Danelectro bass guitar), Lester (b. April 13, 1940) on harmonica, and Willie (b. March 3, 1938) and Joe (b. August 22, 1942) on guitar, the group started to venture outside the gospel circuit, playing at coffeehouses that booked folk acts. They played at places like The Ash Grove, a very popular Los Angeles folk club. It became one of their favorite haunts and brought them into contact with Hoyt Axton, Ramblin’ Jack Elliott, Reverend Gary Davis, and Barbara Dane. Dane became a great supporter, performing and recording with the brothers. With the addition of Brian Keenan (January 28, 1943 – October 5, 1985) on drums, Dane took them on tour with her and introduced them to Pete Seeger, who helped put the Chambers Brothers on the bill of the 1965 Newport Folk Festival. One of the songs they performed, “I Got It”, appeared on the Newport Folk Festival 1965 compilation LP, which was issued on the Vanguard label.
They were becoming more accepted in the folk community, but, like many on the folk circuit, were looking to electrify their music and develop a more rock and roll sound. Joe Chambers recalled in a May 1994 Goldmine article that people at the Newport Folk Festival were breaking down fences and rushing to the stage. “Newport had never seen or heard anything like that.” After the group finished and the crowd finally settled down, the MC came up and said “Whether you know it or not, that was rock ‘n’ roll.” That night they played at a post-concert party for festival performers and went to a recording session of the newly electrified Bob Dylan. Shortly after appearing at Newport, the group released its debut album, People Get Ready.
The (radio) edit version of this track reached #11 in the fall of 1968 (I was all of 10 years old then!), spending a total of five weeks at that spot. There were actually two edited versions of the song produced, one runs 3:05 and the other 4:45. The original clocks in at over 11 minutes.