GIVE TIL IT HURTS!

George Thoroughlygood

The Delaware Destroyer rocks out on one of my personal faves, a cover of rock ‘n’ roll icon Bo Diddley’s original tune.

Back in the day, Diddley was always jokingly known in the BPs band-van as Squiggly Diggley. Hey, when you’re tired, smelly, hungover as hell, and still have another six to eight hours of driving before you make it to that night’s venue, pretty much everything begins to seem funny, aiight?

The George Thorogood backstory is an interesting one.

Thorogood began his career as a solo acoustic performer in the style of Robert Johnson and Elmore James after being inspired in 1970 by a John P. Hammond concert. In 1973, he formed a band, the Delaware Destroyers, with high school friend and drummer Jeff Simon. With additional players, the Delaware Destroyers developed its sound, a mixture of Chicago blues and rock and roll. The band’s first shows were in the Rathskeller bar at the University of Delaware and at Deer Park Tavern, both in Newark, Delaware. Eventually, the band’s name was shortened to the Destroyers. During this time, Thorogood supplemented his income by working as a roadie for Hound Dog Taylor.

Thorogood’s demo Better Than the Rest was recorded in 1974, but was not released until 1979. His major recording debut came with the album George Thorogood and the Destroyers, which was released in 1977. In 1978, Thorogood released his next album with the Destroyers titled Move It on Over, which included a remake of Hank Williams’s “Move It on Over”. He followed those recordings in 1979 with “Please Set a Date” and a reworking of the Bo Diddley song “Who Do You Love”, both released in 1979. The band’s early success contributed to the rise of folk label Rounder Records.

During the late 1970s, Thorogood and his band were based in Boston. He was friends with Jimmy Thackery of the Washington, D.C.-based blues band, The Nighthawks. While touring in the 1970s, the Destroyers and the Nighthawks were playing shows in Georgetown at venues across the street from each other. The Destroyers were engaged at the Cellar Door and the Nighthawks at Desperados. At midnight, while both bands played Elmore James’s “Madison Blues” in the same key, Thorogood and Thackery left their clubs, met in the middle of M Street, exchanged guitar cords and went on to play with the opposite band in the other club. The connection with the Nighthawks was extended further when Nighthawks bass player Jan Zukowski supported Thorogood’s set with Bo Diddley and Albert Collins at the Live Aid concert in Philadelphia, Pennsylvania, on July 13, 1985.

Thorogood gained his first mainstream exposure as a support act for the Rolling Stones during their 1981 U.S. tour. He was also the featured musical guest on Saturday Night Live (Season 8, Episode 2) on the October 2, 1982, broadcast. During this time, Thorogood and the Destroyers became known for their rigorous touring schedule, including the “50/50” tour in 1981, on which the band toured all 50 US states in 50 days. After two shows in Boulder, Colorado, Thorogood and his band flew to Hawaii for one show and then performed a show in Alaska the following night. The next day, Thorogood and his band met his roadies in Washington and continued the one-show-per-state tour. In addition, he played Washington, D.C., on the same day that he performed a show in Maryland, thereby playing 51 shows in 50 days.

With his contract with Rounder Records expiring, Thorogood signed with EMI America Records and, in 1982, released the single “Bad to the Bone” and an album of the same name that went gold. The song became the band’s most well-known song through appearances on MTV and use in films, television and commercials. Thorogood and his band went on to have two more gold studio albums in the 1980s, Maverick and Born to Be Bad. The former features Thorogood’s only Billboard Hot 100 hit, a remake of Johnny Otis’s “Willie and the Hand Jive”, and his concert staple “I Drink Alone”.

 Breakthrough hit or no, I’d be a-okay if I never heard “Bad to The Bone” again for the rest of my life. That said, I still like most of the rest of George’s recorded output just fine, thanks. Legend has it that the Stones, Mick or Keef one, ran across Thorogood gigging in some small gin-joint or other and were impressed enough to offer him the support-act slot on the above-mentioned 1981 tour on the spot, after which it was off and running for the toothy slide-player from the Small-Wonder State. Good for him, I say; the man has damned sure paid his dues, as the old bluesmen used to say, and gained his fame, fortune, and success the old-fashioned way: he earned it.

Update! Not Thorogood, but have yourselves a bonus tune anyway. Heard it on the car radio earlier; I’d just about forgotten how much I always liked it.

Burton Cummings, the guy who wrote this one, absolutely rips some boogie-woogie pi-anny on the original recorded version, although it seems just a mite understated here. What the hey, though, this one’s live, and it’s still damned good if you ask me.

True Hollywood stories

Sex, drugs, and rock and roll during the making of the Blues Brothers movie. Even more great behind-the-scenes tales than is usual in the movie biz, which is justly famous for them, with this long 2013 article, to wit:

One night at three, while filming on a deserted lot in Harvey, Illinois, Belushi disappears. He does this sometimes. On a hunch, Aykroyd follows a grassy path until he spies a house with a light on.

“Uh, we’re shooting a film over here,” Aykroyd tells the homeowner. “We’re looking for one of our actors.”

“Oh, you mean Belushi?” the man replies. “He came in here an hour ago and raided my fridge. He’s asleep on my couch.”

Only Belushi could pull this off. “America’s Guest,” Aykroyd calls him.

“John,” Aykroyd says, awakening Belushi, “we have to go back to work.”

Belushi nods and rises. They walk back to the set as if nothing happened.

Well, in Belushi World, nothing much had. Another:

Filming finishes in Los Angeles, in and around the Universal lot, where Aykroyd again takes up residence. John and Judy rent a house in Coldwater Canyon. “By the time we got to Los Angeles,” Aykroyd says, “[the shoot] was a well-oiled machine.”

By comparison, anyway. Production goes more or less on schedule, and Los Angeles injects its energy: parties at the Playboy Mansion, nights with De Niro and Nicholson.

Belushi summons periods of sobriety. By now he has met Smokey Wendell, a kind of bodyguard/anti-drug enforcer for Joe Walsh, a guitarist for the Eagles. “If I don’t do something now,” Belushi tells Wendell, “I’m going to be dead in a year or two.”

Belushi is on his best behavior while in the presence of the movie’s other musical stars: Ray Charles and Aretha Franklin, James Brown and Cab Calloway. They, too, are in fine form. Even Charles, the crankiest of the bunch, laughs and laughs, usually while retelling the same dirty joke. The Blues Brothers presents a real opportunity for all of them, since all but Charles are in commercial ruts.

Not that this changes any of them. Marini, one of the horn players, spots Franklin taking a cigarette break. He approaches sheepishly, saying, “I just want to tell you how much I enjoy your work.” Franklin turns, glancing at the number on Marini’s football jersey. “Sixty-nine, huh?” she says, and turns away.

One day Aykroyd and Belushi raid the wardrobe department. Tanen happens to be in Wasserman’s office when Wasserman takes a call notifying him that two of Universal’s biggest stars, dressed as Nazi SS officers, have driven off the lot and onto the freeway. Tanen finds this hilarious. Wasserman does not.

Behind the scenes, it’s a different story. Daniel and Weiss are spent. And now they’re confronting the movie’s climactic concert scene. The finale requires Belushi and Aykroyd to do cartwheels, dance steps—the whole deal. It requires hundreds of extras. It requires the Hollywood Palladium.

Daniel gets a call from Weiss. “You better get down here,” Weiss says. When Daniel arrives, Weiss explains. A kid had ridden past Belushi on a skateboard. Belushi asked to ride the board. Belushi fell off the board.

Daniel finds the star clutching his knee and in serious pain. “This was bad,” Daniel recalls. “We had to deal with it in the most effective and emergency-like way. And there was one person who was wired into the Los Angeles medical community better than anyone else.” Wasserman. “I was one of the last people he wanted to hear from,” Daniel says. “The only thing he wanted to hear from me was ‘We’re done.’ ”

Wasserman calls the top orthopedist in town. “It’s Thanksgiving weekend,” the doctor points out. “I’m on my way to Palm Springs.”

“Not yet,” Wasserman replies.

Thirty minutes later, the orthopedist wraps and injects Belushi, who then grits his way through the finale.

End of story.

Or not.

It’s not; still tons more fascinating, entertaining inside dope left here, of which you should read the all.

1

On Buddy Preston and Billy Miles

In a comment to this post, AWM helpfully reminded me of something I already knew:

That’s Billy Preston, not Buddy Miles. I know, they all look alike…..

To which I responded with this:

Heh. Yeah, I was just kidding around with that one, hence the big buildup before the vid. I’d just been listening to some Buddy Miles earlier, and the strong physical resemblance between the two–especially the classic 60s/70s Nee-grow coifs and cool threads, duuuuude–kinda struck me as funny. No racial slurs or anything intended (this time–AHEM), they’re both fine musicians and I love their stuff, which in the end is all that matters to me.

My thanks to AWM, whose good intentions provided me with an unassailable excuse to repost this:

Man, ain’t never the wrong time to rock out on that fat, butt-rocking-good groove, if you ask me. One of the very best rock ‘n’ soul/jazz/R&B crossover hits the era ever gave us, in my opinion.

Them Changes is an album by American artist Buddy Miles, released in June 1970. It reached number 8 on the 1970 Jazz Albums chart, number 35 on the Billboard 200 and number 14 on the 1971 R&B albums charts.

Reception
Writing for Allmusic, music critic Steve Kurutz called the album “quite simply, one of the great lost treasures of soul inspired rock music…definitely worth the extra effort to try to locate.” Conversely, Robert Christgau wrote “His singing is too thin to carry two consecutive cuts, his drumming has to be exploited by subtler musicians, and the title cut is the only decent song he ever wrote.”

Yeah, well, y’know, Robert fucking Christgau. He always was a consummate bitch-ass little prick, according to all I’ve heard from people in a position to know firsthand. Now the NYT’s longtime lead music crit, Jon Pareles, on the other hand…

Pareles BPs

A-HENH! That blurb was just one of the first of quite a few favorable reviews Parales went on to bestow on us, from which you can easily discern that here was a man who knew what the fuck he was talking about.

Anyway, to press ”ESC” on the self-congratulory digression and get back on-topic: It just kills me how, given the way classic-rock stations keep spinning the same well-worn old tunes over and over and over—many of which I do love, mind, but I mean really now, COME ON!—somehow you never, ever hear this one. It’s as if programmers, DJs, and/or station managers are completely unaware that these great artists actually recorded and released a helluva lot more material than just the five or six all-too-familiar songs they’ve boiled entire careers’ worth of output down to and are even now running into the fucking ground. I just don’t get it, I really don’t.

Update! What the hey, one golden musical memory from my childhood deserves another, right?

Buddy Miles, as I’m sure y’all know, filled the pounding-skins slot for Jimi Hendrix (among other notables) for a goodish while there. Preston, for his part, worked the 88s for pretty much everybody who was anybody in the classic-rock days. Wrote or co-wrote a fair few hit songs recorded by other artists, too; pretty much anyplace you looked on the Billboard Hot 100 in the late 60s/early 70s, there ol’ Billy Preston would be. God bless ‘em both, sayeth I.

4

How the rock and roll sausage gets made

The sublime and the ridiculous, butting heads with one another.

Jimi Hendrix’s “The Wind Cries Mary”
A Masterwork Conceived, Composed, and Recorded in Less Than 24 Hours

In late September 1966, Jimi Hendrix landed in London, leaving behind the hardscrabble life he’d led in New York City. Within a couple of days he began a relationship with Kathy Etchingham, who worked as hairdresser and part-time DJ. While still in the first blush of romance, Jimi and Kathy discovered that although they’d grown up an ocean apart, in some ways they shared similar backgrounds. They’d both had challenging childhoods with at least one alcoholic parent. Both of their mothers had abandoned the family. Kathy had spent her earliest years in Derby, living in a working-class house without an indoor bathroom. After her mother left, she and her brother were sent to stay with relatives in Ireland. During her teens she was placed in Dublin’s Holy Faith convent boarding school.

Jimi had mostly grown up with his father, James “Al” Hendrix, and, on occasion, his younger brother Leon. They lived in a variety of rented rooms, apartments, and small houses around Seattle. When times got hard for Al, he shuttled Jimi to stay with relatives and friends. “He’d had a very unhappy childhood,” Kathy wrote in Through Gypsy Eyes: My Life, the Sixties and Jimi Hendrix. “He did talk about how he had no food, no shoes, hadn’t got to have a change of clothes, had to go to other people’s houses to be fed, how his dad used to punch him in the face and shave his hair, and how he would run away but had to go back because, of course, he had nowhere else to go. He didn’t really consider that he had a family.”

Throughout Jimi’s initial nine-month stay in London, the couple shared lodgings with Jimi’s discoverer/producer, Chas Chandler, and his Swedish girlfriend, Lotta Null. In December 1966 Ringo Starr offered to sublet them his flat at 34 Montagu Square for £30 a month. They accepted the offer, and on December 6th Chas, Jimi, Kathy, and Lotta moved to Montagu Square. “We were lucky to get it,” Kathy wrote, “as Paul McCartney had just moved out of the flat before us. The neighbors weren’t too happy about having musicians in the flat. Paul had been using it as a [demo] recording studio and I’m sure it wasn’t very soundproof. The elderly lady who lived upstairs could be rather grumpy. She wouldn’t let us have the keys to the communal gardens when the photographer wanted to take some photos of Jimi in the gardens.”

Away from public view, Jimi and Kathy’s life together at 34 Montagu Square was not always peaceful. Chas and Lotta were sometimes taken aback by the volume of the arguments coming from the rooms downstairs. During one disagreement Kathy smashed her foot through the back of an acoustic guitar. Another one led to a broken sitting-room door. For Jimi and Kathy, though, heated arguments were nothing new. “Having rows never worried either of us much,” Kathy explained. “I guess we both had listened to them enough throughout our childhoods not to take them too seriously. We could be shouting and screaming one moment and forgetting about the whole thing the next…. Both of us operated on very short fuses, and neither of us was ever willing to climb down, so we could only end them by one or the other of us storming off – usually me.” At one point, Chas Chandler and Experience manager Michael Jeffery called Jimi into the office and urged him to break up with Kathy. Hendrix told them to mind their own business. In truth, he felt possessive of Kathy, and their most violent exchanges tended to occur when he felt jealous or suspicious of her.

An especially heated argument on January 10th inspired Jimi to write one of his most achingly beautiful songs. As Kathy described, “He was moaning about my cooking again and I felt I had put a lot of effort into whatever it was – mashed potatoes, probably. I didn’t take kindly to being told they were disgusting, so I picked up the plate and smashed it on the floor. ‘Hell – what are you doing?’ he screamed at me, so I picked up a few more plates and threw them around the room as well, yelling back at him. Eventually I turned on my heel and stalked out, crossing the street to find a cab. He followed, trying to persuade me to come back, but I refused to listen. I found a taxi and jumped in, and without letting Jimi hear I told the driver to take me to Angie and Eric [Burdon]’s place in Jermyn Street. When I returned the next day, having cooled down, I asked him what he had done while I was away. ‘I wrote a song,’ he said and handed me a piece of paper with ‘The Wind Cries Mary’ written on it. Mary is my middle name, and the one he would use when he wanted to annoy me. I took the song and read it through. It was about the row we had just had, but I didn’t feel the least bit appeased.”

Lots, lots more here, all of it completely spellbinding for any fan of the great James Marshall Hendrix. Which, of course, I am and always have been. Don’t doubt me on that, people; in fact, when I was a teenager I once took a huge piggy-bank stuffed full of a cpl hundred bucks’ worth of small change to purchase a grotesquely-abused old Fender Strat from a dealer who was a longtime friend of my uncle’s, Carroll Dill, owner and proprietor of Carroll’s Music.

The guitar was a total no-hoper which was so entirely rat-fucked it wouldn’t make a sound when I bought it; the fretboard was actually, literally rutted down its entire length, from nut to body-join. The poor old thing had a blue body with white stars painted on, with a red-and-white striped pickguard. It had been the property of the guitarist for the house band at a venerable old CLT tittybar, the Paper Doll Lounge, still extant after all these years. The Spontanes, they were called, and the American-flag Strat was trotted out for their nightly rock and roll set, in semi-mufti as Harley Hogg and the Rockers.

None of which backstory I gave a tinker’s damn about at the time, of course. Jimi Hendrix played a Strat, so by God I needed me one too. That added up to me trotting off to Carroll’s to trade all those pennies plus my insanely valuable, immaculate 1964 Jazzmaster (the exact same shade of blue as the soon-to-be-spraybombed Stratocaster, it so happens) for a Strat that was incapable of producing so much as an annoying buzz when plugged into an amp, to my uncle’s undying fury.

No shit, he actually rode over to Carroll’s Music to cuss his old friend out for rooking his nephew in such a bald-faced, egregious way after he’d found out what his stupid-ass nephew had gone and done. They’d been good friends for thirty-some-odd years, but Uncle Murray never spoke to Carroll again after he’d cussed him up one side and down the other. Never said word One to me about it; I found out years later, when my Dad told me the whole story with a rueful shake of his head at both his genuinely dangerous big brother and his damnable fool of a teenaged son.

Meanwhile, I proudly hustled my new acquisition home and proceeded forthwith to disassemble it completely, so as to A) investigate the obvious electrical fault that had rendered my poor baby voiceless, and B) spray-paint it bone-white like the one my idol Jimi played. I did just that, too: a rattlecan of Krylon obscured that obnoxious flag-pattern paint job quite nicely, thanks, although for the next several years of wielding that poor old raggedy-ass axe, I was left with a big smudge of white paint smeared all over my right forearm where it rested against the body every time I played it.

Didn’t matter a whit to me; I finally had myself a Jimi Hendrix guitar, dammit, and despite her crippling flaws I loved her all to pieces.

My dear friend and guitar-hero Steve Howard, a fellow Hendrix fan and an extraordinarily talented player in his own right, eventually ended up unwinding one of the Strat’s pickups right down to the magnets, walking around and around and around his house trailing an endless stream of copper single-coil-pickup-wire in a bootless effort to try and suss out what the hell was wrong with the damned thing. No joy, alas; I replaced all three pickups with brand-new DiMarzios, bought new pots and input jack, and rewired the whole damned thing myself, which I had no clue how to go about doing until I, y’know, did it.

NEVER try to stand between a young man’s Hendrix obsession and his quest to requite same, trust me.

Actually, “Mary” was never one of my favorite Hendrix tunes. This, on the other hand, was:

Another of my Hendrix faves, featuring Jimi mercilessly working over a…a…a Gibson SG Custom, of all unexpected, bizarre things? WOW.

I dunno, man; it’s kinda like seeing Stevie Ray flogging a Les Paul, or, say, Charlie Christian wailing away on a Telecaster, or something. It just…doesn’t…compute, somehow.

Be all that as it may, the above vids are a far cry indeed from Jimi’s days as Little Richard’s guitarist, wouldn’t you say? No lie, even after thirty-some years as a professional player myself—someone who’s spent all of those years studying this stuff minutely, with every ounce of passion, will, and energy he has in him—I couldn’t even begin to tell you what Jimi was doing there, or how he did it. It’s simply beyond belief, that’s what. There’s never been anyone quite like him, before or since.

(Via Ed Driscoll)

5

Dirty blues & boogie woogie

Whenever I’ve heard some dumbass libtard—usually a 60s refugee, but by no means always—deride the 50s, 40s, or anytime before the Sexual Revolution as pretty much a barren desert in terms of human sexuality, I’ve always just had to shake my head and smile to myself. The musical evidence against such an obviously specious supposition abounds; herewith, a mere few examples that present an airtight case to the contrary, which I’ll tuck below the fold for safekeeping. Trust me, folks, this stuff is NOT safe for work, wives, or young children, not even a little, tiny bit.

Continue reading “Dirty blues & boogie woogie”

Trouble up the road

Twitter twats bite back.

Elon Musk Says Twitter Is ‘Resisting’ Terms of Deal, Threatens Termination
Elon Musk is accusing Twitter of “resisting and thwarting” his ability to obtain information about bot accounts on the social media website, saying that it’s a “breach” of the terms of their April deal.

Musk, the world’s richest person, sent a letter to the San Francisco-based firm on June 6.

“Mr. Musk reserves all rights resulting therefrom, including his right not to consummate the transaction and his right to terminate the merger agreement,” the letter reads.

Several weeks ago, the Tesla CEO accused Twitter of allowing a significant number of automated or “bot” accounts on the platform and demanded that the company release that data to him.

In late April, Twitter’s board and Musk jointly announced that he would purchase the social media company for $44 billion and take it private. The deal could take months to finalize, and Musk has publicly stated that it’s not entirely confirmed that he’ll actually buy Twitter.

After the letter was released on the U.S. Securities and Exchange Commission’s website, shares of Twitter dropped 1.5 percent.

“As Twitter’s prospective owner, Mr. Musk is clearly entitled to the requested data to enable him to prepare for transitioning Twitter’s business to his ownership and to facilitate his transaction financing,” the letter reads. “To do both, he must have a complete and accurate understanding of the very core of Twitter’s business model—its active user base.

“Musk is not required to explain his rationale for requesting the data, nor submit to the new conditions the company has attempted to impose on his contractual right to the requested data. At this point, Mr. Musk believes Twitter is transparently refusing to comply with its obligations under the merger agreement, which is causing further suspicion that the company is withholding the requested data due to concern for what Mr. Musk’s own analysis of that data will uncover.”

Much as many of us would enjoy seeing this propaganda mill and the nefarious manipulators running the joint finally on the receiving end of the overdue bruisin’ they’ve long been a-cruisin’ for, the sole arbiter who will judge whether the project to bring Twatter into compliance with 1A standards is actually worth the effort, hassle, and expense required for final consummation of the current takeover agreement is none other than Elon Musk his own bad self. Of course, there are other avenues for dealing effectively with the likes of Twitter and their odious ilk available. But given how pricey ammo has gotten these days, we can only wish fair seas and following winds for Musk. For now, at least.

Explanation for my post title:



That there’s the jumpin’ and jukin’ 1991 cover version of an old Ike Turner-penned scorcher—originally recorded and released by the great Jackie Brenston, who gained everlasting renown for “Rocket 88“, which platter is generally acknowledged as the no-shit genesis of rock and roll—as reimagined by my longtime Nashville homeboys The Planet Rockers.

As it happens, and probably to the surprise of absolutely no one here, I not only have a history with the Planet Rockers, but with this specific song also.



If I recall correctly, which I do, we were playing under a drenching rain that night.

Update! Well, spank my ass and call me Shorty.

“Rocket 88” (originally stylized as Rocket “88”) is a rhythm and blues song that was first recorded in Memphis, Tennessee, in March 1951. The recording was credited to “Jackie Brenston and his Delta Cats”, who were actually Ike Turner and his Kings of Rhythm. The single reached number-one on the Billboard R&B chart.

As long as I’ve been aware of “Rocket 88” and its storied history, never did I have the vaguest clue that the record was actually done by Turner and his posse, not Brenston. Just goes to show that no dog is so old he can’t be taught a new trick once in a while, I reckon.

1

One for BCE

Just ’cause he brought this up:

It reminded me of the old Lone Ranger joke…

The Lone Ranger and Tonto are looking down the side of the mountain into the valley, which is teeming with ten thousand pissed off Apache. Lone Ranger looks over to Tonto and says “Looks like we’re in a tight spot old friend!”

To which Tonto looks at him and says “What’s this “we” shit Paleface?”

Heh. A pretty decent oldie-but-moldie that reminded me of this, from 1974…when I was all of, erm, uhhhhh…fourteen years old?!?

DAMN, but I’m old.



Yeppers, that little ditty was a solid AM radio hit in my youth, among many other off-the-wall and inexplicable novelty offerings. No need to thank me, Expat. Probably no reason to, either.

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Frederick Douglass

"Give me the media and I will make of any nation a herd of swine."
Joseph Goebbels

“I hope we once again have reminded people that man is not free unless government is limited. There’s a clear cause and effect here that is as neat and predictable as a law of physics: As government expands, liberty contracts.”
Ronald Reagan

"Ain't no misunderstanding this war. They want to rule us and aim to do it. We aim not to allow it. All there is to it."
NC Reed, from Parno's Peril

"I just want a government that fits in the box it originally came in."
Bill Whittle

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