Thursday, January 15, 2015

THROWBACK THURSDAY: I'm the Mayor of Crawdad Town

"You get a line, I'll get a pole ..."

"The Crawdad Song," "Sometimes called "Crawdad Hole," was the very first song I ever learned to play when I first started taking guitar lessons when I was 12 or 13 in Oklahoma City. I had this guitar teacher named Julian Akins, an old country singer. (I just found out he also was Vince Gill's guitar teacher. Guess Vince was a better student than me.)

It's kind of a dumb song, but easy to remember. There are a lot of variations, but here's one set of lyrics I like:

You get a line and I'll get a pole, Honey,
You get a line and I'll get a pole, Babe.
You get a line and I'll get a pole,
We'll go fishin' in the crawdad hole,
Honey, Baby mine.

Sittin' on the bank 'til my feet get cold, Honey,
Sittin' on the bank 'til my feet get cold, Babe,
Sittin' on the bank 'til my feet get cold,
Lookin' down that crawdad hole,
Honey, Baby mine.

Yonder comes a man with a sack on his back, Honey,
Yonder comes a man with a sack on his back, Babe,
Yonder comes a man with a sack on his back,
Packin' all the crawdads he can pack,
Honey, Baby mine.

The man fell down and he broke that sack, Honey,
The man fell down and he broke that sack, Babe,
The man fell down and he broke that sack,
See those crawdads backing back,
Honey, Baby mine.

I heard the duck say to the drake, Honey,
I heard the duck say to the drake, Babe,
I heard the duck say to the drake,
There ain't no crawdads in this lake,
Honey, Baby mine.

Other versions have verses with the question "What you gonna do when the well runs dry?" ( The morbid answer is "Sit on the banks and watch the crawdads die") and my favorite, "See that crawdad crawling 'round? He's the mayor of Crawdad Town."

I couldn't find much on the history of this tune. It apparently comes from the American South, where crawdads are plenty (and where people call them "crawdads" rather than "crawfish or crayfish."

According to Ballad of America, "This song evolved from Anglo-American play-party traditions and African-American blues. Workers building levees to prevent the flooding of the Mississippi River in the South were among the first to sing it."

The "play party" concept is interesting. These took place in regions where dancing was banned,  "Here the singing was a cappella, the dancers followed prescribed steps, and arm and elbow swings would be the only touching," writes Alan L. Spurgeon in his book Waltz the Hall: The American Play Party

I guess that beats sitting on the banks and watching the crawdads die.

Here's a more scholarly look at the African-American origins of "The Crawdad Song". CLICK HERE

One thing for certain, a lot of musicians I like in the realm of folk, country, blues and rockabilly, have recorded this song. Gus Cannon, Pete Seeger, Woody Guthrie, George Jones, Jerry Lee Lewis, Doc Watson, Big Jack Johnson, Jessie Mae Hemphill, The Meat Purveyors, Tim Timebomb, Clothesline Revival (built around the vocals of Mrs. Vernon Allen) and more. A band called The Tune Wranglers did a great western-swing version. Unfortunately they apparently thought the lyrics would be funnier if they used a racist term for the poor guy who broke his crawdad sack. So to hell with them.

Here are a few other classic versions:

Here's Big Bill Broonzy



And a live version by Red Foley



Big Joe Turner's rewrite was the basis for the versions by Solomon Burke and Swamp Dogg



And in the '90s. The Gories brought Bo Diddley to the crawdad table




And here is a big bowl of crawdad gumbo for you Spotify users:




For more deep dives into songs, check out The Stephen W. Terrell Web Log Songbook

Wednesday, January 14, 2015

WACKY WEDNESDAY: Take the Skinheads Through the Tulips

Live in Columbus! Tiny Tim & Camper Van Beethoven
In what had to have been Camper Van Beethoven's strangest concert of their early career, on October 26, 1986, the band found themselves backing the one and only Tiny Tim at a bar in Columbus, Ohio.

Yes, that Tiny Tim. The man who brought us "Tiptoe Through the Tulips," the scraggly-haired falsetto-voiced freak who was all over the ukulele some 40 years before bands like Beirut made the uke hip.

Yes, there was Camper, backing Tiny on timeless classics like "Let Me Call You Sweetheart," "If You Knew Susie," and "Won't You Come Home Bill Bailey."

And don't forget God and country. Tiny and Camper roared through "He's Got the Whole World in His Hands" and "You're a Grand Old Flag."

Most all of the tunes are under two minutes long and many are less than 60 seconds. Too bad D. Boone already had died by this point. Tiny could have hired The Minutemen.

In an interview in 2013 with The Atlanta Music Guide, Camper's Jonathan Segel said the show was the funniest moment in the group's career.

We pulled up at Stache’s in Columbus, OH, and saw the bill was Camper Van Beethoven and Tiny Tim, and the promoter met us outside and said he had promised him we’d be his back up band. He was like a grandma, and he did not rehearse us at all, just said: you’ll know the songs, I’ll just tell you how fast to go and what key. And sure enough, before the song, he would wave a hand and say “in D, Maestro!”… that was it.


CVB's singer David Lowrey talked about the Columbus gig  just a few weeks after the show in a radio interview preserved at the Live Music Archive.

 "It was an experiment in new colognes, I think. ... state-sponsored cologne terrorism. ... What he did is he just came out and he told us, `Well, I'll tell you what keys the songs are in and I'll kind of indicate the tempo and you guys just figure it out. And we did."

(Lowrey says this about three minutes into the interview)

Camper Van Beethoven isn't the only rock band to back Tiny Tim. In the '90s he did a live album with The New Duncan Imperials as well as a studio album with Brave Combo.

Unfortunately, there was no professional recording done at the Camper Van Beethoven show in Columbus.

But somebody was recording it, and it's on the Live Music Achive. Audiophiles can exit right now, but everyone else enjoy it on the player below. Tiny comes on right after Camper's regular set:



And just for the heck of it, here's Tiny's amazing take on "Stairway to Heaven" with Brave Combo.

Sunday, January 11, 2015

TERRELL'S SOUND WORLD PLAYLIST

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Sunday, January 11, 2015 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

Here's the playlist below
Check out some of my recently archived radio shows at Radio Free America
Like the Terrell's Sound World Facebook page

Subscribe to The Big Enchilada Podcast! CLICK HERE 
Enjoy the brand new episode HERE

Get Friendly with the Latest Big Enchilada Podcast Episode


THE BIG ENCHILADA



Welcome to the first Big Enchilada episode of 2015. The Big Enchilada only wants to be your friend, So sit back and enjoy this friendly rock 'n' roll. We won't hurt you. Honest. 

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Here's the playlist:
(Background Music: The Westhell by The West Hell 5)
Electric Mind Machine by Electric Mind Machine
Voodoo Mirror by Iguana Death Cult
Treat Her Right by Bluebonnets
I'm a Trashman by Deke Dickerson & The Trashmen
Poor But Proud by Johnny Dowd 
Hej MÅ‚ody Junaku (Hey Young Brave One) by Zuch Kazik

(Background Music: Beat Party 1 by Richie & The Squires)
The Thing That Wouldn't Leave by The Electric Mess
Chemtrailer Trash by Churchwood
A Yellow Mellow Hardtrop by Ray Johnson & The Bystanders
Make Some Time with You by John Schooley
Bird Brain by Scovilles
Trouble Hurricane by The Grannies
Two Lovely Black Eyes by Charles Coborn

(Background Music: Ya Ha Bi Bi by The Sheiks )
Golden Surf II by Pere Ubu
Camera (Queer Sound) by Thee Oh Sees
Jailbird by Narco States
Teenage Jamboree by The Dusters
Before I Let You Go by Frantic Flattops
It's Over by Ty Segal 

Play the silly thing below:


Friday, January 09, 2015

THE SANTA FE OPRY PLAYLIST


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Friday, January 9, 2015 
KSFR, Santa Fe, NM 
Webcasting! 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)ksfr.org

Here's my playlist below:




Check out some of my recently archived radio shows at Radio Free America
Like the Santa Fe Opry Facebook page 

Subscribe to The Big Enchilada Podcast! CLICK HERE
Steve Terrell is proud to report to the monthly Freeform American Roots Radio list

Thursday, January 08, 2015

THROWBACK THURSDAY: Two Lovely Black Eyes

Here's an old song from the English Music Hall tradition that came to me via a British Invasion band that doesn't get nearly enough respect:

Herman's Hermits.

The song is called "Two Lovely Black Eyes." It first appeared on the long out of print 1966 album Both Sides of Herman's Hermits. What made this album different was that on Side Two there were four songs that came from the Music Hall, which basically was a British cousin of American vaudeville. Music Hall started out around 1850 and lasted well into the 20th Century. Although it was considered rther corny by the time rock 'n' roll came around, its influences can be heard in certain songs by British invasion bands including The Beatles  (think "When I'm 64"), The Kinks, The Bonzo Dog Band and even The Rolling Stones ("Something Happened to Me Yesterday")

And Herman's Hermits. One of their biggest hits, "I'm Henry the VIII I Am" came straight out of Music Hall, first recorded by Harry Champion in 1911.

Besides "Two Lovely Black Eyes," Both Sides included "The Future Mrs. 'Awkins," "Oh Mr. Porter," and "My Old Dutch."

Curiously, on the album the songwriting credits of all of these songs go to someone named Kenny Lynch. There was a British pop star by that name around that time (he recorded a cover of The Beatles' "Misery" before The Beatles recorded it.) I can't swear if he's the same Kenny Lynch claiming credit for these four songs.

Trouble is, all four of these were written by others.

Albert Chevalier wrote "The Future Mrs. 'Awkins" and "My Old Dutch." George and Thomas Le Brunn wrote "Oh Mr. Porter."

And "Two Lovely Black Eyes" was written in 1886  by Charles Coborn. He also first recorded it. (He actually recorded several versions, some of which with the chorus sung in several languages.)

Take a listen:


Coborn wrote the words, but he borrowed the melody from an older song called "My Nellie's Blues Eyes." Here's a version of that by Irish tenor Dennis Day.


But back to the lyrics:

The words Colson wrote in the 1880s are different that the ones Herman sang in the '60s. Colson sang about getting beat up in overheated political arguments.

Strolling so happy down Bethnal Green
This gay youth you might have seen,
Tompkins and I, with his girl between, 
Oh! what a surprise!
I prais'd the Conservatives frank and free,
Tompkins got angry so speedilee,
All in a moment he handed to me,
Two lovely black eyes!

Next time, I argued I thought it best,
To give the conservative side a rest.
The merits of Gladstone I freely pressed, When
Oh! what a surprise!
The chap I had met was a Tory true,
Nothing the Liberals right could do,
This was my share of that argument too,
Two lovely black eyes!

The moral you've caught I can hardly doubt
Never on politics rave and shout,
Leave it to others to fight it out, if
You would be wise
Better, far better, it is to let,
Lib'rals and Tories alone, you bet,
Unless you're willing and anxious to get,
Two lovely black eyes!

CHORUS:
Two lovely black eyes!
Oh! what a surprise!
Only for telling a man he was wrong,
Two lovely black eyes!

But in the version I've been carrying around in my head for almost 50 years, the singer got his black eyes from a jealous husband, then his own jealous wife.

Strolling with me mate down Petticoat Lane
I fancied this bird, so I asked her her name
Pointed to her husband - six foot two
Oh, what a surprise

Two lovely black eyes, two lovely black eyes
Only for telling the man he was wrong, I got two lovely black eyes

Strolling with the bird down Bethnell Green
Suddenly find my wife I have seen
Oh what a rumpus, oh what a din
She blacked my eyes with the rolling pin

(I got) Two lovely black eyes, two lovely black eyes
Only for telling my wife she was wrong, I got two lovely black eyes

Two lovely black eyes, two lovely black eyes
Only for telling my wife she was wrong, I got two lovely black eyes

Two lovely black eyes, oh what a surprise
Only for telling the man he was wrong, I got two lovely black eyes

Two lovely black eyes, oh what a surprise
Only for telling my wife she was wrong, I got two lovely black eyes

CHORUS:
Two lovely black eyes!
Oh! what a surprise! (etc etc)

Maybe it was the mysterious Kenny Lunch who rewrote Coburn's song.

Anyway, enjoy it:

Wednesday, January 07, 2015

WACKY WEDNESDAY: Happy (Belated) Birthday Roger Miller!

Roger Miller, one of my boyhood idols, who I got to meet as an adult, would have turned 79 on Jan. 2.

Like me, Miller grew up in Oklahoma (though he was born in Texas.) Erick, Okla. is where Roger spent much of his boyhood. And by the time he rose to fame in the mid 1960s, He was one third of my Holy Okie Trinity -- along with Mickey Mantle and Leroy Gordon Cooper, the first Okie in outer space.

 I'm going to cheat a little bit and re-post something I wrote in this blog about 11 years ago.

I met Roger shortly after he moved to Santa Fe backstage at a Michael Martin Murphey concert at Paolo Soleri in the summer of 1980. Roger was the "surprise" guest. It would have been the first time I'd seen him play since I saw him at Springlake amusement park in Oklahoma City, circa 1965. I was in sixth grade then. ...

But it wasn't meant to be that night at Paolo Soleri in 1980. Roger came out on stage, said, "Hi, I live down the road aways," struck a chord -- and the rain came down. That's back when Santa Fe used to have a "monsoon" season. It rained so hard that the rest of the show was cancelled. 
Roger at his home in Tesque, Autumn 1980
Photo by my late ex-wife Pam Mills

The next time he tried to perform around here was at the Downs of Santa Fe at a Barbara Mandrell show a couple of years later. It rained like hell that night too, but at least the stage was covered, so the show went on. 

I interviewed him for The Santa Fe Reporter shortly after the Paolo fiasco. ...

For a couple of years in the early '80s, I ran into him and his wife Mary frequently. Once he introduced me to Dandy Don Meredith at the Shohko Cafe. But one of the biggest nights for my ego was when Roger Miller introduced me to Hank Thompson in the dressing room of The Line Camp in Pojoaque. "Steve grew up on Reno Street," Roger said, referring to an old Oklahoma City skid row. 

All three of us laughed at that Okie in-joke.

And now you can laugh at Roger's amazing songs and his crazy wit.

This first one shows the magic of live television. (Notice Roger's reaction when the band blows a chord.)




Roger sings a couple of classics on Austin City Limits in the 1980s, introducing himself -- correctly -- as "probably one of the greatest songwriters to ever live." (I had to replace the original video I had here, which vanished from YouTube.)



And here's Roger and Dino. "No dirty numbers," he cautions Martin.



THROWBACK THURSDAY: Come for the Shame, Stay for the Scandal

  Earlier this week I saw Mississippi bluesman Cedrick Burnside play at the Tumbleroot here in Santa Fe. As I suspected, Burnsi...