Matthew Yglesias has a 90’s nostalgia post, dissing Semisonic for their 1998 earworm, “Closing Time”. Matt is not feeling strangely fine; rather, finding it ‘weirdly hilarious’ that anyone would write: they were “no longer upstarts, underdogs or indie rockers. Instead they had a hit song and sales of two million albums worldwide to follow up.”
We had an interesting discussion the other day after Harry’s post about Show of Hands and their song “Roots”. That argument was partly about the possible recuperation of song by the radical right despite the inclusivist politics of the songwriter. Yesterday’s Guardian had an interesting piece attacking the the politics at the origin of folksong as a distinct genre, and especially the politics of the folksong collectors Sharpe and Lomax. Hugh Barker and Yuval Taylor argue that the search for authenticity and the untainted roots of distinct national tradition as embodied in besmocked peasants (and so on) is imbued with ghastly racist assumptions of various kinds and that we should simply reject the idea of a distinction between folk and popular song.
Both ran on the “album oriented rock” station in Dallas, i.e., the one that played “Stairway to Heaven” every day. One of them had Andy Warhol endorsing the Talking Heads. I’m pretty sure it was More Songs About Buidlings and Food. Imagine hearing “Freebird” and then, “Hi, uhm, this is Andy Warhol and, uhm, I think Talking Heads are really great….”
But the other ad really brought the culture clash: an announcement that the Sex Pistols would be coming through on tour. For years I have been puzzled by this memory, given that the only show in Texas anyone ever seemed to discuss was the one at Randy’s Rodeo in San Antonio (several hundred miles away) where Sid hit somebody over the head with his bass.
Somehow I forgot that the Pistols actually did play Dallas. That ad was neither a trick of my memory nor a sign of how badly organized the tour must have been. And it turns out that a video from that show of “Holidays in the Sun” is available online, which I put up now for all the other geezers in the house:
Three days late, this one’s for Daniel (youtube). Who else but S of H would use a song lamenting a lost England to celebrate our immigrants? Me, I’m a rootless cosmpolitan, if an ultra-English one (CB’s adjective, not mine). More enthusiasm about Show of Hands here.
In 1956, Smiley Lewis scored a minor hit – #11 on the R&B charts – with a song written by Dave Bartholomew and Dave King called “One Night”. By 1957, Elvis Presley was a huge star. He had already had big hits with “Heartbreak Hotel”, “Hound Dog”, “Don’t Be Cruel”, “Love Me Tender”, “All Shook Up”, and 50 million people – over 80% of the viewing audience – had watched him on the Ed Sullivan Show. In January, 1957, he recorded a “One Night”. According Peter Guralnick, writing in the liner notes of The King of Rock and Roll: The Complete 50’s Masters:
‘One Night,’ by way of contrast [with ‘Teddy Bear’, which he recorded at the same session], … clearly stemmed from no other source but Elvis Presley’s passion for the music, and it was delivered with undiminished, and unexpurgated, force. Upon his return to the studio a month later to complete various album and single tracks, he re-cut ‘One Night’ with cleaned-up, more teen-oriented lyrics in a performance which, despite its lyrical compromise, actually matches the intensity of the original.
At the end of 1957, Elvis was drafted, so RCA began releasing previously recorded tracks, and they released “One Night” October, 1958. It hit #4 in the US and #1 in the UK. He played it during his 1968 comeback special, and it was re-released in the UK in 2005 and again hit #1. I believe his original recording (the one with the original lyrics) was first released only on The Complete 50’s Masters boxed set in 1992, under the title “One Night of Sin.” (It’s also included on the remastered version of his third album, Loving You.) [click to continue…]
Posting has been rather light from me recently, sorry, but it’s mainly because I can’t get over how mental some of the comments are on this YouTube video of John McLaughlin playing “Cherokee”, and it’s turned into a tight little ball of rage in my stomach that’s preventing me from achieving anything else. Check out what I’m talking about below:
Rod Dreher has converted to Catholicism, then to Orthodoxy, and now to hippie. This is a strange personality type. Nonetheless, well done for the moment, Rod. I’ve always thought that if I were going to bother converting to a religion I’d just go on and be clasped to the bosom of the holy mother Russian church. Why mess around, you know?
Perhaps uncharitable shorter Rod Dreher: “You know, although I’d listened to the Black Sabbath song ‘War Pigs’ many times before, I felt now as if only now I were hearing it for the first time.”
(With charity towards all, I advise readers to go out and listen to some Sister Rosetta Tharpe. If you’ve never heard her music, it will blow your mind.)
Imagine, 45 years after Britney Spears dies, some young kid mimicking her on Stars in Their Eyes. You can’t. Madonna? I’d be surprised. Jagger, Springsteen, Dylan? Ephemera. Hendrix and Presley? Perhaps they are as great as George Formby. Perhaps.
So a treat for the fans amongst our readers (and I know there are some). Scroll down toward the bottom of this page and click “Watch in real media”, and about 3 minutes in you’ll find a lovely little lad playing “My Little Stick of Blackpool Rock”. He doesn’t quite get how dirty it is (thank goodness) and he’s not yet got quite the presence of the master, but it is wonderful. And heart warming. The curious can see the master himself here, here and here (is that the marvelous Beryl there with him?).
Careful, the site resizes your browser, which has always been annoying, but is especially annoying in the age of browser tabs. You can get your window back in its original size, the site still works just fine.
UPDATE: See Phil Ford’s response, on “Hot Pants,” at Dial “M”
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While taking in the news that James Brown has died, I’ve been in transit—far away from my CDs, and unable to celebrate his life in fitting manner. It sounds like a joke in really bad taste, but in fact what I most want to hear is the album called Dead on the Heavy Funk 1974-’76. I used to have it on tape but am not sure if it’s still in print. There’s another compilation with a similar title released as part of what sounds like a worthy archival edition covering Brown’s entire career. [click to continue…]