Long, Long, Day

“It’ll be easy” I said to myself, “Just throw something together”, I lied. A good mix goes through several permutations. Getting everything to flow, so that it follows a thread, is always a challenge.

Who knew The Hudson Brothers were capable of producing such a slab of prime Pop/Rock, sounding as much like late-period Beatles as Badfinger? This was always the opener and really set the tone.(1974)
Legend was led by Mickey Jupp. The drummer left shortly after this (1971) to join T-REX, where he became known as Bill Legend. Fat bass-line reminds me of Macca.
“Lonely Blue Boy” (1958) is one of those songs everyone should hear. Vocal crick as art.
“The Power Of Your Love”(1969) from the sessions that produced “Suspicious Minds”. The last time Elvis was thouroughly engaged and at a creative peak in the studio. Long Live the King.
“In The Ghetto” was written by Mac Davis and recorded by Elvis in 1969. Given recent happenings in Chicago, it seems particularly relevent. This version by Nick Cave (1984) was when I realized he had a future after The Birthday Party.
“Sam” (1969) is a rare slice of midwestern psychedelia. Unreleased until 2013. It features the singing of Linda Bruner, who recorded 4 songs and vanished.
“Dripping With Looks” (1987) is a massive riff I never get tired of.
“Little Bit Of Magic” (1969) is very rare. Rosco originally recorded for SUN, in Memphis. His early singles featured a piano style which contributed to the formation SKA in Jamaica. Rosco left music during the ’60′s, moving to Queens to run a Dry Cleaners.
In 1969 he cut this single and released it on his own label. In the ’80′s he briefly returned to music, but stayed with his original SUN material. It’s too bad he didn’t make more music like this. What a voice! I imagine Bryan Ferry covering it back in the day.
It’s hard to believe “Electrify Me (1979) was considered punk rock when it came out. I hear a little RT in the guitar breaks.
If Nick Lowe and Rockpile never covered “Move It Baby” (1964) they should have.
The Shazam (2002) drop some classic Big Star style pop/rock. These guys deserve a bigger audience.
I love everything about “Pass You By” (1996).
“Wonderin’” (1983) is the only keeper on “Everbody’s Rockin”. It was written in 1970.
“WPLJ”-Frank genuinely loved Doo Wop and R&B. From “Burnt Weeny Sandwich”. I keep meaning to try it. Not the radio station.
Swamp Dogg, not Snoop Dogg. From “Total Destruction Of Your Mind” (1970).
“I Got It all Indeed” is the only song I know from “Theosophy”, Pete Molinari’s 2014 album.
“Life Is Good” is one of my favorite songs from my favorite Los Lobos album.
“Jimmy Was” is the title music from “Sling Blade” (1996).
I’ve always thought Pavement’s Stephen Malkmus’ voice sounded a little like Jerry Garcia’s, and the gorgeous pedal steel on this song really makes the case.
“Chicken” (2014) by Bill Patton brings things down to a gentle simmer while we get a little introspective.
“I Remember Cissy’s Baby and the noise on the block,
And seventeen policemen that were in a state of shock,
She had it on the pavement she had it on the ground,
out popped the baby with the cops all around,”

-(1970) Jake And The Family Jewels.
Some fine storytelling. It just goes from there.
“Gone Like the Water”(1996) by Freedy Johnston is beautifully rendered. Perfect.
John & Beverly Martyn made two albums. “John The Baptist” is from “Stormbringer”(1970). His early work is some of my very favorite music, but soon he went MOR and made some records I’d rather not think about.
This demo of “Seeing” is far superior to the version which turned up on “Moby Grape ’69″. Featuring Skip Spence’s original vocal.

Enjoy!
-BBJ

Long, Long, Day

Weed, Whites, And Wine

I’m “Willin’” to admit that Little Feat’s “Sailin’ Shoes” just might be my favorite album of all time.

I’ve written elsewhere about the life changing moment I received “Looney Toons And Merrie Melodies” (1970), a Warner’s Loss Leader’s 3 record set I sent away for.
“Strawberry Flats” was the third song on side one, after Faces “Had Me A Real Good Time”, and Black Sabbath’s “Paranoid”, and before Fleetwood Mac’s “Tell me All The Things You Do” from “Kiln House”.
I liked the other songs, and I bought all those albums too, but “Strawberry Flats” stood out. So many ideas packed into a little over 2 minutes.

I didn’t know what a record store was. All I knew was the local Target equivalent. They didn’t have “Little Feat”, so I settled for “Sailin’ Shoes” with it’s bizzarre cover art.
From the chiming opener, “Easy To Slip” I liked it. A lot.

I’ve come to recognize it as a perfect encapsulation of it’s time and place. Southern California in the early ’70′s. I hear elements of Country Rock, CSNY, The Eagles, Flying Burrito Brothers, Warren Zevon, Captain Beefheart, and of course, The Mother’s Of Invention.

I’m on my third vinyl copy and have the cd.

This compilation is a tribute to Lowell George, founder and guiding light. He was a tremendously gifted guitar player, singer, songwriter, producer, and bandleader. It recreates the order I first heard them. “Strawberry Flats” followed by “Sailin’ Shoes” in it’s entirety, and then highlights from “Little Feat” and “Dixie Chicken”.

Lowell George met Bill Payne when he was a member of Frank Zappa’s Mothers of Invention.
Payne auditioned for the Mothers, but didn’t join. They formed Little Feat along with former Mothers bassist Roy Estrada and drummer Richie Hayward from George’s previous band, The Factory. Hayward had also been a member of the Fraternity of Man whose claim to fame was the inclusion of their “Don’t Bogart Me” on the million-selling Easy Rider film soundtrack.
The name Little Feat came from a comment made by Mothers’ drummer Jimmy Carl Black (The Indian of the group) about Lowell’s “little feet”. The spelling of “feat” was an homage to the Beatles.

There are three stories about the genesis of Little Feat.
One has it that George showed Zappa his song “Willin’,” and that Zappa fired him because he was too talented to be a sideman, and he should form his own band.
The second version has Zappa firing him for playing a 15-minute guitar solo with his amplifier off. The third version says he was fired because “Willin’” contains drug references.
On October 18, 1975 at the Auditorium Theater in Rochester New York while introducing the song, George commented that he was asked to leave the band for “writing a song about dope”.

In any version, Zappa was instrumental in getting George and his new band a contract with Warner Bros. Records. The eponymous first album delivered to Warner Bros. was recorded mostly in August and September 1970, and was released in January 1971. When it came time to record “Willin’,” George had hurt his hand in an accident with a model airplane, so Ry Cooder sat in and played the song’s slide part.
“Willin’” was re-recorded for “Sailin’ Shoes”, this time with guest Burrito “Sneaky Pete” on pedal steel. It’s the the first Little Feat album to feature cover art by Neon Park, the artist responsible for Zappa’s “Weasels Ripped My Flesh” (On which Lowell is a member of The Mothers).

Despite good reviews, lack of success led to the band splitting up, with Estrada leaving to join Captain Beefheart’s Magic Band (And even more lack of success).

In 1972 Little Feat reformed, with bassist Kenny Gradney replacing Estrada. Also added was second guitarist Paul Barrere, a friend of Lowell’s from Hollywood High, and percussionist Sam Clayton (brother of session singer Merry Clayton). As a result the band was expanded from a quartet to a sextet.

I was so excited when “Dixie Chicken” came out, until I played it. They had 3 new people in the band and it tilted towards New Orleans, and lite funk, which was not what I was looking for.
However, the title is a classic and “Fat Man In The Bathtub” is one of their finest moments.
I didn’t hate the album.
Then came “Feats Don’t Fail Me Now”. Another Neon Parks cover, and a reworking of two songs from “Sailin” Shoes” played as a medley. Which I now understand was made to better reflect their live shows at the time, for which they were getting quite a reputation, but to my ears was a travesty.
I didn’t buy any more of their albums after that.

George continued to produce the albums, but his songwriting contribution diminished as the group moved into jazz fusion, a style in which he had little interest. In August 1977, Little Feat recorded a live album from gigs at the Rainbow Theatre in London and Lisner Auditorium in Washington, DC. “Waiting for Columbus” is considered by many to be one of the best live albums of all time, despite the fact that significant portions of George’s vocals and slide work were over-dubbed later in the studio. It was released in 1978, by which time it had become apparent that Lowell George’s interest in the band was waning, as was his health.

In an interview with Bill Flanagan (for the book Written in My Soul) conducted eleven days before his death, George made it clear that he felt the demise of Little Feat was due to his having allowed the band to be run democratically, with the result that Payne and, to a lesser extent, Barrere, had a presence as songwriters and in production which was disproportionate to their abilities.

Nowhere on the wikipedia page I reworked for some of this does it mention that Lowell’s drug use was a contributing factor to his abdication of leadership in the band. Or that Zappa fired him for smoking dope.

His only solo album, “Thanks, I’ll Eat It Here” (1979) is mostly covers. I’ve never heard it.

Too bad there isn’t more of this.

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Here Comes The SUN

If Elvis is Jesus then Sam Phillips is GOD. I’ve read Peter Guralnick’s terrific two volume biography of Elvis, as well as “Lost Highway: Journeys and Arrivals of American Musicians”, so I look forward to his latest, “Sam Phillips: The Man Who Invented Rock N Roll”.

All the songs on this collection come from the accompanying 2 CD set curated by the author.
I don’t have a single argument with his selections. These are my favorites sequenced by me.
Everybody should stop off in Memphis on their way to New Orleans. When I had to pick one or the other I chose Nashville, and I don’t regret it, but next time will be Memphis.
In the ’80′s I had a friend working in a record store who routinely sold me fancy imports at her employee discount. I discovered SUN through Charly Records, and their top-shelf reissues. They all look and sound great. I still have a lot of them including a 9 record set of SUN Blues.

I dug the brief post- punk Rockabilly revival of 1980 (culminating with “Crazy Little Thing Called Love), and even formed a band with a childhood buddy which went on without me to get a record deal and everything(Jimmy And The Mustangs).

I know all these songs like I wrote and played them myself and you should too.
The music speaks for itself. Regardless of the weather have a SUNny weekend!

Here Comes The Sun

Now That’s What I Call Bullshit 60

 
(Dion-”Now”)

All Killer No Filler!!


If I was in control of a radio station, let’s call it WBBJ(W-Buzz-Baby-Jesus), my playlist would be based on Duke Ellington’s concept of “There are two kinds of music. Good music, and the other kind”.

They all begin with the “needle drop”. This sound inspires delicious anticipation. I salivate when I hear it. Apparently the ancient Greeks used a bit of cacophony to start a performance, as it defined the silence immediately after. This particular needle drop is “The Night Tripper” by Dr. John. A record I found on the street in Soho.

2- “Campesina” by Spiteri, from 1973. Led by Venezuelan brothers, Charlie and George, Spiteri was released in England as an answer to Santana.
It never charted anywhere, and they didn’t make any more albums. And so this one gem makes its mark in history as a collectors’ ‘must have’ and an album that could have been…. but never was. Still, never too late to enjoy it! I don’t always know where I found something, but in this case it’s here.

3- “What’s Right” by David Werner from his eponymous 1979 album. It’s brilliant, and actually made the charts. Song writer, recording artist, and record producer, he is also known for his two RCA glam rock releases “Whizz Kid” and “Imagination Quota”. All are worth checking out.

4- “Dirty Boys” is my favorite from David Bowie’s latest, “The Next Day”. (2013)

5- “Don’t Swallow The Cap” by The National. I read a great review of this album in the NYTimes. Reminds me of ’80′s Bowie. The jury’s still out, but I like this song. (2013)

6- “Now” – Dion and The Wanderers. From his late ’60′s album “Wonder Where I’m Bound”, which no one bought, this song is powerfully good. With it’s kind of California folk-rock arrangement, it doesn’t sound a thing like “Runaround Sue” or any of his other hits. One thing for sure, the man can sing. (1968)

7- “Ride Your Pony” – Lee Dorsey. I chose this over “Working In A Coal Mine”. (1966)

8- “The World Is A Ghetto” – War. I like to include a couple actual hits in the mix. The context elevates the more obscure tunes. That they hold their own is evidence that the biggest reason they didn’t chart has more to do with luck than quality. (1973)

9- “Walking The Whippet” – Andy Mackay from his 1974 album, “In Search Of Eddie Riff”. With a nod to “Telstar”, this instrumental features Phil Manzanera, and is pretty much Roxy Music without a singer.

10- “Jungle Lullabye” – CW Stoneking from his 2008 album “Jungle Blues”. This Australian singer songwriter guitar banjo player manages to evoke 1920′s music without sounding like a museum. This song is a favorite around my house. Great arrangement by the Primitive Horn Orchestra.

11- “Blue Monk” Original founding members of NRBQ, Terry Adams and Steve Ferguson from “Louisville Sluggers” (2006). Thoroughly affectionate and charming cover of Monk’s tune.

12- “The “In” Crowd” by Dobie Gray is just cool. (1964)

13- “Stop Me, Citate Me” By The Fraternity Of Man, best known for “Don’t Bogart Me” from “Easy Rider” Its original members included three musicians from Lowell George’s band The Factory – Richie Hayward later of Little Feat, Warren Klein, and Martin Kibbee. This countrified psychedelic artifact tells a familiar tale with humor without being a novelty. (1968)

14- “Melody” Formed in 1990, Custard is an indie rock band from Brisbane, Australia. Working similar territory as XTC, they wrote short snappy pop songs with elements of rock n roll and the occasional pedal steel. “Melody” will stick in your head.

15- “Make Me Smile (Come Up And See Me)” by Steve Harley & Cockney Rebel for the album “The Best Years of Our Lives”. Somehow I missed this when it came out in 1975. Infectious as hell, it reminds me of Eno at his glam-poppy best.

16- “Sad Is The Way That I Feel” Mark Eric (1969). Really obscure slab of Beach Boy homage. On a side note, Eric was also a teen actor, appearing on The Partridge Family, among other TV shows of the 60s.

17- “Shelby GT 356″ The Chesterfield Kings. From their foray into surf music “Surfin’ Rampage” (1997). This Rochester NY institution has been exploring various forms of rock music since the 1980′s. They get all the details right, down to their outfits.

18- “Muswell Hillbilly” Southern Culture On The Skids take on The Kinks classic. I’ve been a Kinks fan since “You Really Got Me”, and I can be pretty hard to please, but I think they get all the important things right on this. The rest of the album “Countrypolitan Favorites” (2007) is just as good.

19- “Be My Guest” Neil Finn From “The Kitchen Sink”, a collection of rareties and demos. (2004)

20- “Car Song (Non-Album Track)” Fresh Maggots (1971). Impossibly obscure bit of early ’70′s British folk. This catchy tune is more fun than anything else on the album.

21- “Freddie’s Dead” Curtis Mayfield, 1972. Another actual hit. The single was released before the Super Fly album, and in fact before the film itself was in theaters. It peaked at #4 on the U.S. Pop Chart and #2 on the R&B chart.

22- “Played The Game Too Long” The Original Texas Playboys Under The Direction Of Leon McAuliffe(1979). I found this vinyl rip over at Willard’s.

Special Thanks to TWILIGHTZONE! and Willard’s Wormholes

Art Included.

Now………….60

Jimmy Plagiarist

 
Worth tracking downThis post began as a feature on the underrated, yet highly influential Davey Graham. I was blown away when I acquired his 1964 album Folk, Blues, & Beyond, and first heard his amazing rendition of “She Moved Through The Fair”.  I’ve been into the British Folkies since way before breakfast, and I’d heard of him, but never ran across any of his records.  I forget which of my favorite blogs first clued me in, but suddenly my whole understanding of the late ’60′s folk thing shifted.  The raga break in Fairport Convention’s “Nottamun Town” didn’t seem so brilliantly original.  That eastern flavor is Davey Graham’s contribution.  He developed the DADGAD tuning in order to play oud music on his guitar while travelling through Morocco. It’s also a sitar tuning.
Anyway “She Moved Through The Fair” sounded very familiar.  That’s because Jimmy Page, while a Yardbird, appropriated it, retitled it as “White Summer”, and has performed it as a showpiece and signature song without ever crediting Graham for the arrangement or the tuning making it possible.
I bought ”Hammer Of The Gods” for $2 at a flea market in Woodstock last weekend, and according to it’s author, after touring Australia with the Yardbirds,
“Jimmy flew on to India, where he wanted to hear Carnatic Music.  He arrived alone, in Bombay on the Arabian Sea at three in the morning with a duffel bag over his shoulder, and spent days in the streets, listening to itinerant musicians.”
I don’t know about you, but that sounds a little like a fantasy.
Two pages later when describing “Little Games”, the subsequent , final, and only Yardbirds album featuring Jimmy Page he mentions one of the highlights being,
“”White Summer,” Jimmy’s Carnatic madrigal that was his solo showpiece in concert”
I figure since he’s a plagiarist he’s probably a liar, too.  I don’t know about his India story, but as long as he’s stealing a man’s music, why not some of his legend as well?
Here’s a little wikipedia on Davey Graham:
“Graham’s spontaneity made him unreliable and unpredictable, which did little to advance his fame or endear him to concert organisers and the more commercial elements of the music world. In the late 1960s he was booked for a tour of Australia but, when his plane stopped for an hour in Bombay, he changed his plans and spent the next six months wandering through India.”

Martin Carthy from the back of Folk, Blues, And Beyond
“Davy is one of the great originals on the folk scene; in fact I think he’s probably the great original. Davy’s discovery of DADGAD really was the great leap forward and his performance of “She Moved Through The Fair” in this tuning at the troubadour was mind blowing.”

Carnatic madrigal my arse.
Many of Led Zeppelin’s signature tunes are shameless rip-off’s of other artist’s ideas. All I can figure is that their manager, Peter Grant said something like, “They can go broke suing us.”

Jimmy bought this album in 1967

In a 1990 interview with Musician magazine, Jimmy Page quickly soured when questions veered into this territory. The Q and A exchange is quoted below.

Musician: I understand “Dazed & Confused” was originally a song by Jake Holmes. Is that true?

Page: [Sourly] I don’t know. I don’t know. [Inhaling] I don’t know about all that.

Musician: Do you remember the process of writing that song?

Page: Well, I did that with the Yardbirds originally… The Yardbirds were such a good band for a guitarist to play in that I came up with a lot of riffs and ideas out of that, and I employed quite a lot of those in the early Zeppelin stuff.

Musician: But Jake Holmes, a successful jingle writer in New York, claims on his 1967 record that he wrote the original song.

Page: Hmm. Well, I don’t know. I don’t know about that. I’d rather not get into it because I don’t know all the circumstances. What’s he got, The riff or whatever? Because Robert wrote some of the lyrics for that on the album. But he was only listening to… we extended it from the one that we were playing with the Yardbirds.

Musician: Did you bring it into the Yardbirds?

Page: No, I think we played it ’round a sort of melody line or something that Keith [Relf] had. So I don’t know. I haven’t heard Jake Holmes so I don’t know what it’s all about anyway. Usually my riffs are pretty damn original. [laughs] What can I say?

from wikipedia:

During a 1967 tour of the United States by English rock group The Yardbirds, Jake Holmes performed as the opener at the Village Theater in Greenwich Village on August 25, 1967. The Yardbirds were inspired by his performance and decided to work up their own arrangement. Their version featured long instrumental passages of bowed guitar courtesy of Jimmy Page, and dynamic instrumental flourishes. Page has stated that he obtained the idea of using a violin bow on his guitar from a violinist named David McCallum, Sr*., during his session days before joining the Yardbirds in 1966. At that time, it even had a little Eastern influence, as can be heard on some French television appearances. It quickly became a staple of The Yardbirds’ live performance during the last year of their act.
The song was never officially recorded by the band, although a live version recorded on 30 March 1968 is included on the album Live Yardbirds: Featuring Jimmy Page under the alternate title “I’m Confused”. Notably, it is the only track that has no songwriter credits on the release. Another live version of the song, recorded on the French TV series “Bouton Rouge” on 9 March 1968, was included on the CD Cumular Limit in 2000 and was credited “by Jake Holmes arr. Yardbirds.”

When the Yardbirds disbanded in 1968, Page planned to record the song yet again, this time with Led Zeppelin. According to Zeppelin bassist John Paul Jones, the first time he heard the song was at the band’s very first rehearsal session at Gerrard Street in London in 1968: “Jimmy played us the riffs at the first rehearsal and said, ‘This is a number I want us to do’.” Led Zeppelin recorded their version in October 1968 at Olympic Studios, London, and the song was included on their 1969 debut album Led Zeppelin.
The Led Zeppelin version was not credited to Holmes. Page used the title, penned a new set of lyrics, and changed enough of the melody to escape a plagiarism lawsuit from Holmes — the song’s arrangement, however, remained markedly similar to the version performed by The Yardbirds the previous year.While Holmes took no action at the time, he did later contact Page in regards to the matter. Page had not replied as of 2001. In June 2010 Holmes filed a lawsuit in United States District Court, alleging copyright infringement and naming Page as a co-defendant. The 2012 live album Celebration Day attributes the song to “Page; inspired by Jake Holmes”, although the writer’s credit with ASCAP remains unchanged.

Here is “Dazed And Confused” by Jake Holmes from his 1967 album, The Above Ground Sound of Jake Holmes. The Yardbirds saw Jake perform this and Jimmy Page bought the album at Bleeker Bob’s the next day.
 

*I believe the origin of the violin bow can be seen in this YouTube video of The Creation playing their excellent “Making Time” in 1966. (Eddie Phillips brings the bow out at 1:40)


“Hammer Of The Gods” repeatedly states Led Zeppelin’s affinity for the California sound (“Going To California”), especially San Francisco’s Spirit. Here is a brief instrumental by Randy California, from Spirit (1967)entitled “Taurus”. It’s quite lovely and the central theme is the basis for “Stairway To Heaven”.
 

Bert Jansch

“Black Mountain Side” from Led Zeppelin’s debut, and credited to Jimmy Page is really Bert Jansch’s arrangement of the traditional “Black Waterside” with a new title. Bert Jansch (11/03/43-10/05/11) was also influenced by Davy Graham, and like Martin Carthy, not adverse to giving credit. Here is “Black Waterside” from his 1966 album Jack Orion.
 
Led Zeppelin has been sued by and settled with bluesmen for several songs, “Whole Lotta Love”, for instance. I didn’t include them as the blues are slippery, the originals they copied were themselves built on other tunes. That’s blues. I didn’t mention that “Communication Breakdown” is a re-write of Eddie Cochran’s “Nervous Breakdown” because it isn’t as obvious. Most music is built out of other tunes. But you either render it unrecognizable, thus making it yours, or you give credit where credit is due.


Here are a couple Yardbirds tracks Jimmy would rather you didn’t hear:
“Knowing That I’m losing You” later turned up as “Tangerine” with Keith Relf’s uncredited lyrics intact.
 
The “original” “White Summer” from Little Games (1968)
 
“Usually my riffs are pretty damn original. [laughs] What can I say?”
Thanks to Willard for turning me onto “Taurus”. While the post was taking shape I ran across Will Shade’s fine article:
“THE THIEVING MAGPIES:
Jimmy Page’s Dubious Recording Legacy
Part 2

where I found a lot of information/inspiration.
She Moved Through The Fair
Dazed & Confused
Taurus
Black Waterside
Knowing That I’m Losing You
White Summer

Number Two

The Playlist


As mentioned in the profile, and other previous posts, the original now that’s what I call bullshit, was thrown together really quickly, but had a great flow and energy. If you make a lot of mix cd’s, then you know some turn out better than others. A good one will stand up to repeated listenings. Some assemble easily and others don’t. Number one was effortless and encouraged me to make another. Number Two had a lot to live up to. It took all week to assemble, with a couple failed prototypes along the way. This time the effort paid off. The result was a lot more variety, and a couple real real sleepers.
Things start off fine with memorable tunes by The Mermen, BRMC, Love Story In Blood Red, but really begin to go places with Ed Harcourt’s “Hanging With The Wrong Crowd”, followed by the aptly titled, “Nightmare”. Duncan Browne is a reminder that being a singer song writer is not alway a bad thing. “Babe Rainbow” is beautifully rendered. Magic Sam’s “Funky G Street” is a hair raising instrumental, Junior Kimbrough is transcendent, and Mattafix provides a conscious multi-culti international take on classic soul with “Big City Life”.

Here’s something I found about Nancy Boy:

Led by the progenies of two ’60s rockers, hippy-dippy Donovan and blue-hatted Monkee Mike Nesmith, pomo new wavers Nancy Boy definitely rebelled against their musical pedigree, emphasizing fashion and style over traditional substance. Model Donovan Leitch and Jason Nesmith threw Bowie, Suede, Duran Duran, and Blur in a blender and served up their self-titled full-length debut in 1996, competing with the post-grunge, Creed-infested landscape of alternative music. With their skinny ties and eyeliner, they didn’t stand a chance.

Anyway this is one of the better mixes, so I thought I’d share it. now that’s what I call bullshit 2 was assembled during the first week of June, 2006. I listened to this the whole summer I spent down in South Jersey as a surf bum.
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The Original artifact

Tabby’s Blues Box

 
 

This might be where we were

This might be where we were

My Dad dumped my mom so after the divorce she decided to move to Panama City, Florida, to get away from all the pain that California had to offer. Her brother and a lot of his kids, and her sister lived there so it seemed like a good idea.
I really wanted to move to New York City and figured anywhere on the East Coast was closer, so I took the opportunity to go along.
In June of 1986 we hired my friend DV to help move all our stuff from Huntington Beach. We loaded up the 24 foot Ryder truck and dragged my Honda Civic behind all the way to Florida in 3 days. We drove for 48 straight hours of sleep deprived halucinations. Texas, which is really wide took what seemed like forever to cross. Falling asleep at the wheel was a constant problem, you don’t know how bad it is until you’ve almost killed yourself.

Because we couldn’t ever see the car we were towing, driving in reverse was something we didn’t want to experience. We were driving through Baton Rouge when we saw a Red Roof Inn right on the highway that looked like we could pull into and out of without too much trouble, so we went for it. We checked in and I was ready to fall asleep the minute I lay on the bed when DV insisted that we had to make a pilgrmiage to Tabby’s Blues Box, a club featured on a public television special called Rainin’ in My Heart. Before I knew it he was on the phone talking to the club and they were open.

DV can tell the rest. (This is from the comments section of A Ass Pocket Of Whiskey post)

Reminds me of a cab ride in Baton Rouge, La. one night after driving for 48 hours straight from California. You and me, jumpin’ out of our truck and into a cab, tellin’ the driver the address of the now defunkt Tabby’s Blues Box. We were on a mission. When we arrived to this venue without even a sign on the front and in not such a good part of town. Night had fallen hard and our African American driver turns his head around and says “Are you sure you guys wanna go in there? I don’t think I would go in there!” “Oh yeah, we’re sure!” We jumped out and thanked our good natured driver who stood by for a minute, watching us to see if we were gonna stay. We moved toward the door of the “club”. Someone sitting at a folding card table just inside charged us what might have been two dollars. We entered the room that was lit with a single red light bulb where a few scattered patrons (maybe eight people)averted their gaze in our direction. To the left was this old black guy with a silver Hard Hat on, playing a beat up old guitar. He sounded like blood, mud & magic. Ahead of us was the tiny makeshift bar…we both simultaneously decided that if we were to get murdered in this place that it would be well worth it. We proceed to head straight for the whiskey. The musician, we found out, was Silas Hogan. He was everything we were looking for in this possible misadventure. It was great talking to him after he finished. We got him to autograph the singles we bought of his tune “Hairy Leg Women” that he was hocking from a small suitcase. He was the real deal. We bought him some grapefruit juice and we all raised our drinks and said cheers. We did die that night, and wound up in blues heaven.

Actually he was wearing a Train Conductor's hat

Actually he was wearing a Train Conductor's hat

That was such a powerful night. I felt like I was Gumby walking into a book about the history of the blues. Everything was hyper vivid. We were exhausted but we knew what we had to do. On our third wind and three sheet to the wind as well. I think you got me on the selling records from the guitar case deal. And here I thought my brain was still functioning. Nothing like a rented moving truck with pink flamingos tied to the vertical curb feelers and three thousand miles of road in your face.
My reply:
I still have my autographed copy of “Hairy Leg Woman” b/w “Bad Little Puppy”, and will post it sometime soon. When I do I’ll just use your comment for text, as your memory needs no correcting, although I thought the singles came out of his guitar case.
And you forgot to mention our cabbie gave me a card with a phone number for the cab company. I called, it was after 2 am, and we got the same driver. We were pretty lit and told him what a great party they had going there.
(The next day we drove to Panama City)

Tabby's #2

Tabby's #2

Tabby’s Blues Box and Heritage Hall opened its doors in 1979 as the first and only blues club in Baton Rouge. It featured authentic blues music, offered the original blues “jam,” and welcomed fans from all over the world. The Thursday night Hoo Doo Party was a favorite with college students.

Famous local musicians — Henry Gray, Silas Hogan, Raful Neal — could be found playing there when they were in town. Tabby’s son and Grammy Award winner, Chris Thomas King, got his start there and signed his first recording contract in the Blues Box. The “Box” was visited by many famous people: Mike Tyson, Paul Newman, Bruce Springsteen and Shaquille O’Neal were just a few.

In 1999, the North Blvd. railroad overpass project caused the demolition of the original location and a new location was found on Lafayette St. in downtown Baton Rouge. The new “Box” opened in 2000 and stayed open until 2004 when Tabby had a massive stroke while waiting to go onstage.

Tabby Thomas was a great host, too.

Tabby Thomas was a great host, too.

Hairy Leg Woman
Bad Little Puppy

A Ass Pocket Of Whiskey

 

a ass pocket of whiskey

A Ass Pocket of Whiskey is a collaborative album by the American Delta bluesman R. L. Burnside and the American punk blues band Jon Spencer Blues Explosion, released on Matador Records on 18 June 1996. The style might be described as lo-fi storytelling garage punk-blues rock with explicit lyrics.

Whatever it is rocks like a mutha. R. L. kills it. Jon Spencer’s got it. Let the music do the talking. Play Loud

He Rocks

He Rocks

R. L. Burnside (November 23, 1926 – September 1, 2005), born Robert Lee Burnside, was a North Mississippi hill country blues singer, songwriter, and guitarist who lived much of his life in and around Holly Springs, Mississippi. He played music for much of his life, but did not receive much attention until the early 1990s. In the latter half of the 1990s, Burnside repeatedly recorded with Jon Spencer, garnering crossover appeal and introducing his music to a new fanbase within the underground punk blues music scene.

The Criminal Inside Me