GMVW # 75: "Northern Exposure"

Gem Music Video of the Week # 75:  Northern Exposure

Song:  50 Mission Cap by The Tragically Hip

(Songwriter: Gordie Downie)

June 11, 2009

A second Gem has been found via album recommendations.  This one comes courtesy of good buddy Steve Vance.  Steve recommended the album ‘Fully Completely’ by Canadian rock band, The Tragically Hip.  The band was not listed in my priority list (in the write-up for Gem #58), but Steve’s talking points were convincing, and so I struck off in pursuit of the cd.  The quest proved to be harder than I had expected.  Traveling for work during the search, I frequented (or called) numerous new and used record stores in Washington D.C., Little Rock Arkansas, and Baltimore Maryland, finally tracking the cd down much closer to home, in Manchester New Hampshire.  It was worth the effort.

One reason for my difficulty in finding this record was that I was searching in the States.  Of the many great bands that have emerged out of Canada over the past 50 years, The Tragically Hip are about as ‘provincial’ as they get.  It is highly likely that a significant portion of their loyal following: 1) are able to name the Canadian Prime Minister and his party affiliation; 2) have an original (pre-USA release) game board of Trivial Pursuit in their closets; and 3) can explain the rules in curling.  They can also tell you who scored the winning goal in the 1972 Canada/Soviet Union Summit Series.  At first listen, ‘The Hip’ reminded me of the Australian band Midnight Oil….must be a Commonwealth thing.  Yet many of the songs on the album ‘Fully Completely’ are Canuck centric:  The use of ‘Pigeon Cameras’ during WW I, a false-accusation murder mystery in Saskatchewan in 1969 (‘Wheat Kings’) and the story behind this week’s Gem… but I’ll save the unveiling of that one for just a bit longer. 

Steve recommending an album as distinctly Canadian as this one opened the flood gates for me in terms of this write up, partly because, in all sincerity and admiration, Steve is as Canadian as anyone I’ve ever met.  My insight into what makes a Canadian ‘Canadian’ had faded a bit over the years, but recently I’ve had the pleasure of traveling a handful of times to Canada for work and upon reconnecting with the citizenry, I was brought back to old familiar and subtle perceptions of a culture that is very much distinguished from that here in the USA. I’m not going to even try to define it:  The German word for this type of familiarity is ‘Gestalt’, and I will leave it at that.  However, I’ll share a few thoughts here of my own personal experiences with our neighbors in the ‘Great White North’ (several of whom may be reading this), which will hopefully flesh out a few uniquely Canadian superlatives.

For me and other family members, visions of all things Canadian started with my maternal grandfather, Emmet Smith.  Grampy (also known as Gumpa by a majority of his 59 grandchildren) immigrated to the States from Prince Edward Island in the 1920’s.  He brought with him his down-to-earth, peaceful nature that radiated its way down the family tree:  Cousins Jack and Tom have the same easy-going personalities.  Grampy also brought his love of Canada and PEI here with him, and he often reflected on his native land in stories to us.  The stories had an undertone of hardship, but they were told in a most faith filled manner giving PEI an almost mythical aura as he spun his yarns.   

When Dana Carvey did his character, ‘Grumpy Old Man’, on Saturday Night Live, I was reminded of my grandfather.  Not because of the crankiness of the character, but because of the stories, which, for Carvey’s character, all started with “When I was a boy…..”.  He would then go on to tell of some outrageous walking distance to school or how his family survived hard winters, and he would finish with the line “And we liked it!”  The Grumpy Old Man’s exaggerations were the reality of my grandfather’s young life in Tracadie, PEI, which likely contributed to his well-grounded and faith centered lifestyle. 

Dad’s side of the family tree is also rooted in Maritime Canada.  A town in New Brunswick, Hillsborough, boasts ‘The Steeves Museum’, which Nancy and I have visited with the kids.  A great, great, great Uncle, William Steeves, was actually one of five New Brunswick delegates at the original Canadian Confederation Conference in Charlottetown, PEI in 1864, (an historic gathering which is brought to life at the Confederation Museum in Charlottetown > worth a visit if you are ever in the area).  So, in Canada, instead of “signing your John Hancock”, the saying goes “sign your William Steeves”….. ok, a bit of wishful thinking there. 

A number of family summer vacations during my teen years were to Canada, including Toronto, Ottawa, Montreal, and Quebec City.  It was during these trips that I started to make my own Canada connections, which ultimately led to a 1982 college exchange program excursion to Carleton University in Ottawa.  Steve, a suite mate, was the first person I met.  He took me under his wings and showed me the ropes (literally, in the case of the orientation-week tug-o-war over the Rideau Canal).  In no time, Carleton, the Canal, Parliament Hill, Hull, and the Market Place became friendly territory.   More importantly, Steve connected me with his friends, who became my friends.  I could write a dissertation on how that all panned out, but will leave that to the historians (actually, I’ve already hit on a few stories in past gems and plan on doing so in future ones).

Tucked in the midst of all this has been a reliable seasonal reminder of all things Canadian: The NHL.  Though less so now, the NHL has always been top heavy with Canadian talent.  This was particularly the case when I was young and fascinated with the Big Bad Bruins in the early 70’s.  Every single member of the Bruins ’70 and ’72 Stanley Cup winners were from Canada:  Orr, Esposito, Bucyk, Cheevers, Sanderson, McKenzie…. the whole lot of them.  These guys were good, but of equal interest to me was their character.  They knew how to have fun, and you could see it play out on the ice and hear about it in the headlines.  When the Bruins won the Cup in 1970, the story goes that Derek ‘Turk’ Sanderson spotted a cop’s motorcycle parked near the parade route, started it up and cruised the streets of Boston with Pie McKenzie in tow.  When Phil Esposito was in the hospital, Orr and others, disguised in scrubs, snuck into his ward and wheeled him out to a pub down the street where he spent the remainder of the evening on his roller bed in the middle of the pub floor, beer in hand.

More important than the recognition of camaraderie though, these guys were connected with the fans.  In the early 70’s, Fred and I sent chicken-scratch notes to many of the players asking for their autographs and we received responses from every single one of them, including players we admired on other teams like Gump Worsley, Yvon Cournoyer, Ken Dryden, and Pete and Frank Mahovlich.  The players were also humble and classy in their interviews, particularly Bobby Orr, and when I had the chance to meet a player in person (as was the case with Ken Hodge and John McKenzie) I was pleasantly surprised with their authenticity. When I see this humble style in modern hockey players as they get interviewed, occasionally I will look them up for their nationality.  More often than not, they are Canadians. 

Interest of the Bruins in our family goes way back to the Eddie Shore days. Dad’s parents (Jerry and Fred) had season tickets to the Garden and followed the Bruins through good times and bad.  These were the days of the ‘Original Six’ (Toronto, Detroit, New York, Chicago, Boston, and Montreal).  It’s this era that The Tragically Hip connect us to in this week’s Gem ’50 Mission Cap’.  The title refers to military caps that were given to any Royal Air Force pilot who completed 50 hostile missions.  Although the title is relevant to the songs deeper meaning, the lyrics are more a window into NHL lore and the Toronto Maple Leaf glory days.

The Leafs won the Cup in 1951, on an overtime goal by one of their stars, Bill Barilko.  Barilko then disappeared that summer after a fishing trip in northern Ontario.  His disappearance remained a mystery until the small 2-man plane he was flying in was found crashed in the hinterlands 11 years later (35 miles off course).  The Leafs won the Cup that year (1962) for the first time since his disappearance.  Many Torontonians saw it as far more than coincidence.

Although I’ve had the chance to see passionate fans here in Boston, I realize it is hard to compare to Toronto Maple Leaf fans.  It’s been a while since Toronto won the Cup (1965).  The closest they’ve come since was a run in the ’93 playoffs (arguably the best playoff year in hockey in the past 40 years).  It would be a spectacle to see them win the Cup again (after the Bruins pull it off though!). 

Hopefully, for those who are hockey fans, this is all stirring more interest in tomorrow nights game between an original 6 (Detroit), and an original 12, (Pittsburgh).  It’s a game seven.  Winner gets to hoist Lord Stanley’s Cup.  It could be a doozy, and a viewing of the Gem should add a bit to the drama.  The lyrics are added below for additional context.  Also, below the Gem is a 2nd url link, that one of the Bruins early 70’s theme song:  ‘Nutrocker’ by ELP.

In closing, I want to thank Steve for his album recommendation and his friendship.  Steve’s love of music has been a connection since I met him.  I’ve also got a request for him.  No one I know has traveled to more locations far and wide in Canada than Steve.  If up to the task, I’m hoping he can reflect on several of the more interesting locales he has visited over the years for us, whether in British Columbia, Alberta, the Yukon, Newfoundland or Thunder Bay Ontario.  I believe Steve’s exploits would put Farley Mowat to shame. 

Several year’s ago, I ran into 2 hikers on a mountain top in Maine who told me they lived in Nova Scotia.  After talking with them for a while I was confused.  They didn’t have that ‘Canadian’ thing going for them, and I asked, a bit skeptically, if they were originally from there.  ‘No’ they replied, they were from the States, and had only lived in Canada for 5 years.  They asked how I knew, as there was no accent to give them away per se.  “I’m not sure”, I replied, “I just know”. 

Perhaps I was making a mental comparison to Steve Vance, with some Emmet Smith, Pat Shea, Luc Polnicky, Ed Suen, Tom Murphy, Bob Mainguy, Joan Blakesley (Ottawa relative) and many other friends and relatives mixed in.  Not to mention Bobby Orr, Neil Young, Robbie Robertson, Alanis Morissette, Mike Myers, Don Cherry and other celeb types who have connected.

Yes, that would explain it.

- Pete

Gem Video ’50 Mission Cap’

http://www.youtube.com/watch?v=4tjFuuTCfB8

Bruins 70’s theme song: Nutrocker by Emerson, Lake and Palmer (ELP)

http://www.youtube.com/watch?v=rX0vOYwHj30

Lyrics to 50 Mission Cap:

“Bill Barilko disappeared that summer

 He was on a fishing trip

The last goal he ever scored won the Leafs the Cup

They didn't win another until 1962 the year he was discovered

I stole this from a hockey card I keep tucked up under

My fifty mission cap I worked it in to look like that”

_________________________________

About the video: A custom video homemade by someone in Canada.  It shows old clips of Bill Barilko and the Toronto Maple Leafs

Video Rating: 1.5 (very nice homemade clips, but there’s room for improvement)

Best Feedback: Steve

Peter;

Thanks for the Gem. We have not seen each other in 13 years and I still love you Man!

If I made an impression on your life almost 27 years ago, think what you've done to mine and so many other people on the email list. You are like the glue that keeps us together. Wouldn't be cool if Peter was the US Ambassador to the UN. I mean Pete how to embrace procrastination!

I don't get into music as much as you do but I know what I like. And wow! is your memory good, those years to me are just a blur! I can't belive you have not heard or cannot find the The Hip.

I'm glad you enjoyed the album. This is my favorite hip song not on that album - New Orleans is Sinking. When they all had big hair. During Katrina radio stations refused to play it.

http://www.youtube.com/watch?v=zd-x9H6lfMs&feature=related

I don't know what it is to be truly Canadian but I do know that Henderson scored the winning goal in '72 and "How's it going, eh?" is my favorite intro.

I was sorry to see the Bruins lose this year but Sidney Crosby will win his first Stanley of many tomorrow night and wreck havic on the Detroit Machine!

I will try to send you a nice story if I can remember one.

Cheers to Everyone!!

Steve

PS: Since you shined us Canadians so well, I had to pass on the Canadian "Talking to Amercians" Rick Mercer show. For some reason, we find it hilarious.

http://www.youtube.com/watch?v=BhTZ_tgMUdo

PSS:

Here's my page on youtube where I have acouple of videos but plan to add more.

http://www.youtube.com/user/Socialablesteve

GMVW # 74: "Overruling Jools and Jim"

Gem Music Video of the Week # 74:  Overruling Jools and Jim

Song:  Who Are You by The Who

(Songwriter: Pete Townshend)

June 4, 2009

It’s been too long since the last Who Gem (# 43 to be exact), which included my (insert adjective) attempt at a concert review.  This time, I’m going to review a Who album, but where the concert review was of a show performed the week before, this album review is 30 years in the making.  The album is ‘Who Are You’…. and it’s my all-time favorite Who record.

Now, if you were to poll avid Who fans on what their favorite Who album is, most responses would fall into one of three bins:  ‘Who’s Next’, ‘Live at Leeds’ or ‘Quadrophenia’ .  These are certainly seminal albums, making them very hard to best.  But for reasons not fully explored until now, ‘Who Are You’ nudges them out when it comes down to the one Who album I must have on a desert island.  I will try to explain the why, when, where, how, and WHO here. 

First a few related memories, since no album can rank at the top of a favorite list without a listen to it conjuring up highlight-reel moments from the past.  My initial memory of ‘Who Are You’ as an album is listening to it in my Lincoln Mercury Capri (must have been 1980/81) with Mac and Dave in the parking lot down by ‘The Rock’, which was a frequent hangout locale for the old gang (before houses were built there).  The album was being played in its entirety on one of the local radio stations.  As it played through several of the deeper cuts, Mac and Dave, neither of whom tossed praise out lightly, commented on how good it sounded.  They were both more familiar with the album than I at the time, so I just listened to the music and the commentary.  I was impressed on both counts.  Not long after, Joe (coincidentally?) bought me the album.

Another memory, a few years later, was also in a vehicle, this one a van belonging to good friend Luc Polnicky.  By this time I was well indoctrinated into the world of The Who and Who Are You.  Luc chauffeured an afternoon drive through Gatineau Park near Ottawa Canada during one of many memorable trips north of the border.  ‘Who Are You’ was blaring on the sound system as we wound our way through the hills and valleys, drowning out most attempts at conversation.  The van was packed with good friends, including Steve, Bob, Pat, Bec, Mac, and Dave (all who receive these weekly bombasts).  It was a never forgotten snap shot in time for me.

An aside:  For whatever reason, ‘Who Are You’ is a cd I cannot keep track of physically.  Whenever I purchase it, it disappears within months.  I picked up the cd again recently to see if I could rekindle some of those old memories and reconnect with the songs.  It did not take long.  Good thing, as any day now…..

(Postscript: I did indeed lose the cd again!)

So, what is it about ‘Who Are You’ that captures the imagination and has my ranking it so favorably?  This view, after all, is not shared by a majority of the rock critics who have reviewed the album over the years.  Most look at ‘Who Are You’ as The Who on the way down from the pinnacle of earlier success.  To me however, the comparison with past success is at the core of why this is a great album.  The Who were in the enviable position at this point in their history to capitalize on everything they had learned from that success.  All 4 charter band members were still on board (though not for much longer), which by 1978 was virtually unheard of for most 60’s bands.  ‘Who Are You’ in other words, is an album that could only be produced by a band with that kind of experience in tow.  This comes through in the music big time, and I’ve always been amazed most critics have overlooked it. 

In the history of rock music, there have been other bands poised to take advantage of past experiences and success in preparation for a new album.  The difference between the Who and many of these other bands, however, was that the Who had not sold out (despite what the title of their 3rd studio album would declare) to the commercial tug and artistic lethargy that eventually comes with fame and fortune.  They all remained focused on what motivated them from the beginning (the music), allowing the creative process to kick in to higher gear.

The remainder of this album review is broken down by band member, with a focus on what each of them brought to the table in the making of ‘Who Are You’.  Townshend first, followed by Entwistle, Daltrey, and Moon. 

Pete Townshend:

Writing about the Who in the April, 2004 Rolling Stone issue ’50 Greatest Artists of all Time’, Eddie Vedder states “What disturbs me about the Who is the way they smashed through every door of rock & roll, leaving rubble and not much else for the rest of us to lay claim to”.  This was actually a concern of Townshend’s in the making of ‘Who Are You’.  1978 was a period in rock music where the new punk movement was writing off all music that preceded it….that is, all except the music of the Who.  Punks were embracing the Who, and Townshend hated it.  Townshend wanted Punk and other new music genres to write off the Who as well.  He wished to be ‘rendered irrelevant’, believing this was the only way the new music scene could make a name for itself and maybe even rise above what preceded it. 

Townshend was in a dilemma, however.  Although he was ready to fall on his own sword, he continued to be driven by what kept him in the Who all along:  That the music of the band be a reflection of their fan base, a mirror for fans to look at and connect with.  This inner drive required effort and creativity.  Townshend was walking a fine line, and came up with a unique solution to say the least: Write good music but cut it to shreds through the lyrics.  The tortured artist was at it again.

Five of the six songs credited to Townshend on ‘Who Are You’ are about music: ‘New Song’, ‘Music Must Change’, ‘Sister Disco’, ‘Guitar and Pen’ and the title track.  These songs are fascinating because they explore Townshend’s concerns regarding the need for music evolution head on through the lyrics.  In ‘New Song’ (a brilliant song written to Who fans), for example, he writes:

“I write the same old song with a few new lines

 And everybody wants to cheer it

 I write the same old song you heard a few good times

 Admit you really want to hear it”

Several of Townshend’s songs on ‘Who Are You’ ended up too complex for the Who to ever consider performing them live.  My favorite song on the album, ‘Guitar and Pen’ (which is actually about song writing) is the best example of this. It rolls from one phase to another, testing Daltrey’s singing and Townshend’s own phenomenal guitar playing to the hilt.  It is an absolutely brilliant example of how untouchable the Who could be when all the stars were aligned.

John Entwistle:

Each member of the Who ended up the internal fan of the band at various times in its history.  During the making of ‘Who Are You’, it was Entwistle who appeared to play this role. The Ox put in the long hours in the studio, often sticking around well into the evening after everyone else retired for the day. He was ultimately responsible for putting the final touches on the product, a fine polishing that no one else could face, particularly Townshend. 

John Entwistle is credited with writing 3 songs on the album: ‘905’, ‘Trick of the Light’, and ‘Had Enough’.  It was rare for Entwistle, the number 2 songwriter in the band, to get more than one song on a Who album.  But he pulled it off here partly because he allowed Daltrey (as opposed to himself) sing two of them:  ‘Trick of the Light’ and ‘Had Enough’. This gave his songs more cohesion with the rest of the album.  His songs also connected, however, because they were very good.  The lyrics of ‘Had Enough’ reach Townshend-ian proportions, and the song ranks among the best in the entire Who catalog.  Then there is ‘905’, where a passion comes through in Entwistle’s singing that I can’t recall hearing in any of his earlier songs.  Just listen to how he delivers the bridge lines:

“I have a feeling deep inside that something is missing”

 It’s a feeling in my soul and I can’t help wishing

 That one day I’ll discover that we’re living a lie

  And I’ll tell the whole world the reason why”

As always, The Ox’s bass playing on the entire album is superb.  One of the great things about Who music which is incomparable, is that you can listen to one song 4 times and enjoy it in at least 4 different ways, focusing on a different instrument each time.  On ‘Who Are You’ this is particularly the case with ‘Sister Disco’, ‘New Song’, and ‘Had Enough’.  On all 3, the individual instruments (including vocals) shine, and the Ox’s bass playing is beyond textbook:  It’s unparalleled.

One final note about John Entwistle: This was the last Who album where he would put a concerted effort into his backing vocals. One of the hidden gems of Who music was the backing vocals, particularly the low/high vocal range Entwistle was able to cover.  He stepped aside in the 80’s as the Who brought on more backing singers.  It’s a shame this had to happen, as the Townshend/Entwistle backing vocal combination was a powerful one. But its there in all it’s glory on ‘Who Are You’ (although the Who were already using some hired help at this stage).

Roger Daltrey:

Daltrey was always the sober member of the Who, which was needed more than ever during the making of ‘Who Are You’:  Moon, Townshend and Entwistle were all on personal collision courses at the time.  Daltrey would ultimately ride out the storm, but his passion for the band was thoroughly challenged. If a session slipped out of focus and into consumption-centric chaos, ‘Squire’ Daltrey was out the door, heading for the hills in a helicopter to regroup at his British country side manor (which included a man-made trout pond).

Daltrey’s singing on the entire ‘Who Are You’ album is, I believe, his best singing period.  For example, he is somehow able to sound like John Entwistle (at his best) as he sings Entwistle’s ‘Trick of the Light’.  Trick of the vocals is more like it.  On ‘Guitar and Pen’, I love the part where he sneers “And she says that she’d like it ‘with more of a tune’ ”, as he reflects the character of an overly critical mother responding to her sons appeal to how she likes his songwriting (Townshend’s personal childhood playing out there). 

One of the amazing things about Daltrey is related to the fact that he was not as gifted as the others.  However, through his love of the band, he was able to rise to their level.  Pete Townshend is a very gifted singer, and the Who could have been successful as a 3 piece.  Roger Daltrey had to make himself better than Townshend in the singing department.... and he did.  If he ever had to write a resume, though, a 3-word document would suffice: ‘Who Are You’.

Keith Moon:

‘Who Are You’ was Moon’s swan song (overruling the ‘Not to be Taken Away’ declaration written on the chair he sat on for the album cover).  He would die of substance-abuse-related causes only several weeks after the albums release.  One of the biggest issues that rock critics had with ‘Who Are You’ was Moon’s drumming.  I’m not sure what they hear, perhaps there is an over-comparison to earlier Who albums.  What I hear though is ferociously good drumming, which remains uniquely identifiable to Keith Moon (the only drumming I could ever pick out of a crowd if I had to).

It’s well known, that it took the other members of the band a while to help Moon get his legs back under him when they reconvened in the studio to produce ‘Who Are You’ after several years of studio inactivity (Moon had let himself go in the interim). Townshend even reached a point where he had to threaten to replace Moon if he did not get his act together.  Of course, he knew this to be impossible, but Moon left him no options.  He had to find someway to get Keith’s butt in gear. 

As it turned out, only one song, ‘Music Must Change’ (which has a unique beat), ended up out of Moon’s reach.  There is no drumming on this song (if you listen close on a good sound system, you can hear Townshend’s miked and in-time footsteps in lieu of drums).  Other than that, I believe Keith Moon went out with a bang (not a whimper) on ‘Who Are You’.

‘Moon the Loon’ was the Who’s secret weapon.  They were never the same again without him (although the mid-90’s addition of Zak Starkey, Ringo’s son, was an unexpected positive jolt that brought some of the Moon magic back).  As Townshend aptly stated though, after Moon died: “but, we still have his records!”. 

OK, so up till now, I’ve said very little about the title track, which happens to be this week’s Gem Video. The becoming-legendary story behind the song goes that Townshend, who had just received a very handsome royalty check, confronted two members of the punk band ‘The Sex Pisols’ at a nightclub.  He was disgusted they would even be seen in (what Townshend determined) an old-fart rockers nightclub.  He proceeded to yell obscenities at them, then pulled out his royalty check and, standing on a table, ripped it up in front of them, yelling ‘Who Are You, Who Are You’ in the process. 

In the liner notes of the reissued album, Matt Resinicoff (a kindred spirit who gets it) writes “The Who knew that rock can’t peddle easy answers, but it can share the burdens of it’s listeners; remember, there is no question mark in the title of this recording.”

In other words, WHO are you and you are WHO!

The Gem Video is a uniquely great opportunity to see how the Who put a song together in the studio. 

‘Who are You’ was released in the States on the date of my 16th birthday (8/25/78).  Several years later, it was a much needed 2nd wind for me in terms of enjoying Who music.  I was already a year or so into the band’s best known releases (‘Tommy’, ‘Who’s Next’, ‘The Kid’s Are Alright’), but if this was going to continue, the lesser known albums needed to pull through.  They did, with ‘Who Are You’ leading the way.

Beneath the Gem video is a very nicely done cover version of ‘New Song’, done by (what appears to be) a Canadian based band.  It’s rare that I like a cover of a Who song, so I include it here.

- Pete

Gem Music Video: ‘Who Are You’

http://www.youtube.com/watch?v=l_FZVD5lsAw

‘New Song’ cover band

http://www.youtube.com/watch?v=lB9oxOIiVGY

About the Video:  The studio clip from The Kids are Alright movie

Video Rating: 1 (although I would have chosen ‘Guitar and Pen’ if the song was available in video form).

Best Feedback: Tom

Pete, if there's such a thing as your outdoing yourself - you did it for me this week!  I thoroughly enjoyed your write-up, and seriously think you should be a writer for Rolling Stone or such.  I learned even a lot of nuanced facts about the members from this - thanks again.  As much as I enjoy other artists too, no other group gets me feeling swimingly rock crazed as The Who (Teenage Wasteland and Pinball Wizard may be overplayed on FM, but I never get sick of their sound).  Incidentally in the video you cite below - of Who Are You - it sounds like Daltrey is revealing what you said about its true intent, when at the 3:15 minute mark he utter after an emphatic "who are you!" "Clearly" and grins, with Pete nodding back in affirmation.

Cheers Pete, and have a splendid weekend too.

Tom

And: Steve

Good Job Pete. The Who still sends shivers thru me as I sing along to all their songs. I think I'll go buy 'Who Are You' album and crank while I drive to Kelowna, BC next week!

Cheers

Steve

GMVW # 73: "Deep in the Heart of Texas"

Gem Music Video of the Week # 73:  Deep in the Heart of Texas

Song:  Willie the Wimp by Bill Carter and Ruth Ellsworth

Covered Here By: Stevie Ray Vaughn

(Songwriters: Bill Carter and Ruth Ellsworth)

May 28, 2009

When debating over the top cities in the US to see live music, New Orleans, Nashville, Austin, New York, Boston, Chicago, and San Francisco are on most everyone’s list.  I’ve been lucky enough to see live local music in all of these cities.  As for top dog status, New Orleans was the most overtly musical, reflecting it’s world-renowned reputation.  One circumstance in particular that made this most clear to me was when I was in Mobile Alabama and caught an amazingly in-synch New Orleans rock band that had to commute the two plus hours east to get a regular gig.  

Certainly, New Orleans is tough to beat when it comes to live music, but for me, Austin Texas runs a close second.  Perhaps because it was not as expected as when I visited ‘The Big Easy’ and other music Mecca’s, but whatever the reason, I was blown away by the Austin music scene.  After seeing it first hand, it’s hard to dispute Austin’s claim that on any given night 100 bands are playing at one time.  There was so much sound emanating out of the multitude of tightly packed clubs on 6th Street, that at first it was difficult to comprehend how you could get enough to hear just one band at a time.  And 6th Street is only part of the story, with many other sections of the city boasting great venues as well.  This is all capped off with the 30-years-running Austin City Limits concerts.  Shawn Colvin, Patti Griffin, Charlie Sexton, Willie Nelson, The Fabulous Thunderbirds, and ‘The Butthole Surfers’ (tie for most eye-popping band name along with ‘The Dead Milkmen’) all have roots in Austin.

One work trip I took to Austin in the mid 90’s was just before Christmas and since I was way behind on my shopping, I was talked into an evening excursion to a place called the Armadillo, which had years before been the scene of many great performances from Janis Joplin to Bruce Springsteen.  The large warehouse-like structure was now the scene of an annual ‘Christmas bazaar’, with hundreds of small booths showcasing a wide range of gift choices. And yet, as I discovered when I got there, the music had not entirely abandoned the building. 

Smack dab in the middle was a stage, and performing on it, a fantastic live band.  Beer was the main item on the menu, which you were free to take with you as you roamed the booths.  This was a shopper tag-along’s (guy’s) dream come true.  When I was done at least an hour ahead of the scheduled reconvening, I found myself killing ‘mall’ time in an unusually enjoyable way (like anyone with mall phobia, I turn into a pumpkin in 2 hours at best > picture The Robot in ‘Lost in Space’ after Dr. Smith pulls his power pack):  I sat and watched live music, beer in hand.  Looking around, I noticed that I was surrounded by a number of other solo-sitting gents, and concluded they were each likely waiting for a significant other to finish shopping.  Compared to guys I see in the bland malls around here, however, these fellows looked content.  They were smiling.  So was I.

This week’s Gem is of one of the most revered musicians of the Austin music scene, Stevie Ray Vaughn.  The song, ‘Willie the Wimp’ (written by 2 other Austin natives, Bill Carter and Ruth Ellsworth) tells the true story of a Chicago gangster’s rather unique funeral.  I’ve included the lyrics below.  The ‘Austin Sound’, particularly Vaughn’s virtuoso guitar playing, is clearly evident in this live performance.

The night Stevie Ray Vaughn died in a helicopter crash (August, 1990) I was in Brussels, Belgium with Nancy and Bob’s brother, Pete, at a Jonathan Richman show.  Jonathan dedicated several songs that night to Stevie Ray Vaughn.  I was a bit surprised.  Richman and Vaughn are two musical personas I would never associate with one another, but, as with all great musicians, a common thread was there in the music.  I should have known…it’s always there.

Below the Gem is a great link (practically a Gem in itself, so I will call it Gem 73.5), the Sir Douglas Quintet performing ’Mendocino’.  Jeff Strause (who was an Austin resident for many a year, and who knew the scene inside out) recently alerted me to the fact that Sir Douglas Quintet leader, Doug Sahm, was a Texas native and cut his musical teeth there.  He was also a mover and shaker in the Austin scene later (he fled Texas for California in the mid 60’s, claiming cultural repression, and did a cover story for Rolling Stone magazine on the topic in 1970).

The final link is Stevie Ray Vaughn’s rendition of ‘Mary Had a Little Lamb’, a Bob Bouvier favorite.

- Pete

Gem Music Video ‘Willie the Wimp’

http://www.youtube.com/watch?v=yLZI2z19vbQ

Gem 73.5 ‘Mendocino’

http://www.youtube.com/watch?v=th7yaYqEKSA

‘Mary Had a Little Lamb’

http://www.youtube.com/watch?v=vaX7Y1GQl5w

Lyrics to ‘Willie the Wimp’

“ Willie the Wimp was buried today,

They laid him to rest in a special way.

Sent him off in the finest style

That casket-mobile really drove 'em wild

Southside Chicago will think of him often

Talkin' 'bout Willie the Wimp and his Cadillac coffin,

Willie the Wimp and his Cadillac coffin

That casket, it looked like a fine Seville

He had a vanity license and a Cadillac grille

Willie was propped up in the driver's seat

He had diamonds on his fingers and a smile sweet

Fine red suit had the whole town talkin'

Talkin' 'bout Willie the Wimp and his Cadillac coffin

Willie the Wimp and his Cadillac coffin

Oh, Cadillac to Heaven he was wavin' the banner

He left like he lived, in a lively manner

With a-hundred dollar bills in his fingers tight

He had flowers for wheels and a-flashin' headlights

He been wishin' for wings, no way he was walkin'

Talkin' 'bout Willie the Wimp and his Cadillac coffin

Yeah, Willie the Wimp and his Cadillac coffin “

About the Video:  A very nice live version.  It appears to be professionally done in the late 80’s

Video Rating: 1.5 (Very good performance, but footage could be better)

Best Feedback: Jeff

Hi Pete.  You picked a nice Doug song, that one and Shes About a Mover are my favorites.   On the Armadillo thing though, they tore down the original building which was an armory prior to the Armadillo World Headquarters, and built a hirise on the spot after shutting it down in the early 80s  I have some pictures of it.  I only lived in Austni from 79-81 but spent lots of time there between 78 and 87. You got me though in that I have never been to the Armadillo Xmas bazaar, and have often thought about going down there just for it, as a lot of people I really like play it.

I have half a mind to make a quick bike trip up to MA this weekend. The Nields are playing Arlo's church, and Mike Merenda & Ruthy Ungar are playing the following night in Great Barrington.  These two were a part of the Mammals and are great musicians.

I don't know if I'll make it but if I do and Sunday is decent weater I may be able to make a quick trip over to Groton/Pepperell/Nashua.

And Fred:

Pete

Another great one.  I was in New Orleans two years ago and the music scene blew me away.  One bar rock, the next jazz, the next country, the next blues, the next R&B.......I cant wait to get back.  I also LOVED Memphis, which is a smaller version of NO.  Lets put it on the list....