Wednesday, December 27, 2006

Linton Kwesi Johnson doing Sonny's Lettah





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by Linton Kwesi Johnson (LKJ)


Sonny's Lettah (Anti-sus poem)


Brixton Prison
Jeb Avenue
London, South West 2
Inglan

Dear Ma Maa,

Good Day
I hope that when these few lines reach you
they may find you in the best of health

Ma Maa I really don' know how to tell yu dis
'cause, I did meck a solemn promise
to teck care a likkle Jim and try
mi best fi look out fi 'im

Ma Maa a really did try mi best
but none de less
mi sorry fi tell yu sey
poor likkle Jim get aress'
it was de middle a de rush 'our
when everybody jus' a hustle an a bustle
fi go 'ome fi dem evenin' shower

Me and Jim stand up waiting pon a bus
    not causing no fuss
when all on a sudden a police man
                pull up
out jump 3 police man
De 'ole a dem carrying baton

Dem walk up to me and Jim
one a dem 'ole on to Jim
sey 'im teckin 'im in
Jim tell him fi leggo a 'im
fa 'im no do nuttin
an 'im naw tief, not even a button

Jim start to riggle
De police start to giggle

Ma Maa, meck a tell yu weh dem do to Jim
Ma Maa , meck a tell yu we dem do to him

Dem tump 'im in 'im belly
    an' it turn to jelly
Dem lick 'im pon 'im back
    an 'im rib get pop
Dem lick 'im pon 'im head
    but it tuff like lead
Dem kick 'im in 'im seed
    an it started to bleed

Ma Maa I just couldn't just stan' up
    deh a no do nutten

So mi juck one ina 'im eye
    an 'im started to cry
Mi tump one in 'im mout
    an 'im started to shout
Mi kick one pon 'im shin
an 'im started to spin
Mi tump 'im pon 'im chin
    an 'im drop pon a bin
            an crash an dead

Ma Maa more police man come down
    an beat me to de ground

Dem charge Jim fi sus
Dem charge mi fi murder
Ma Ma!    Don't fret
don't get depress an down 'earted
be of good courage

Till I hear from yu

I remain your son

Sonny


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Sunday, December 24, 2006

J. Geils Band doing Floyd's Hotel for Christmas



For Christmas, I got myself The Morning After, the 1971 album by my favorite band to see in concert in my teens, the J. Geils Band. In those 70s, some of us from Massachusetts had good friends from Manchester, NH. And I remember one time being in a car heading home from Montreal, with a mix of us as we all got into singing and swaying to the song "Floyd's Hotel," a song written about a New Hampshire hotel, done by the Massachusetts-based band. I have many J. Geils albums, the early albums, and the concert ones mainly, in a box down in my basement--but never got this one, and always should have.

Another thought, in watching the video below, it occurs to me that the latest American Idol, Taylor Hicks, has a similar energy to Peter Wolf. This makes me wonder if there is an influence there. I have no inclination to go see Hicks in concert or buy his albums. The reason might be that he comes across too pop. R&B and Rock 'n Roll, versus pop, are rooted in the realities and hard core emotions of life, which include such a hotel as Floyd's and the encounters there. The song enters that world, becomes an anthem for it, and speaks from it. It may turn out to be too "bold" a move for someone like Hicks to do, even if he wanted to. Maybe Hicks has sold his R&B soul to the American Idol devil.

Now, we come back full circle to J. Geils, and whether the band sold their souls in their later albums. The song "Centerfold", a song I would not buy, does not address human sexuality the same way as "Floyd's Hotel." How do you get from "South Side Shuffle" to "Freeze Frame"? One answer might be through the Love Stinks album. Other answers, though, might be through the easy life or the desire for the popularity of pop. Do we need to forgive the band for selling out before they broke up? And, if so, do we forgive Geils and Hicks alike?

The difference between the tightrope Taylor Hicks is walking, and the J. Geils Band's historic journey, is in what Geils demonstrated: that it could be done. J. Geils Band represented the artistry, or should I say the poetry of all R&B artists, in showing that they could do other types of perimeter-inspired poetry as well. "Freeze Frame" and "Centerfold" are standards that will survive in pop culture far beyond we who are living today, as will the band's blues rock survive for R&B seekers in forthcoming generations.

The best pop artists, the ones selling the most records, are not doing it because they do it better. That's settled now. The challenge Peter Wolf and the J. Geils Band has for any pop band or singer, is can they now, with their talents, sing from their for-real souls, as well as from their musical abilities. When and if Taylor Hicks can get his pop standards up for forthcoming generations, he will still need to return to his music for his soul.


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J Geils Band - Floyds Hotel via Noolmusic.com



The above performance of "Floyd's Hotel" is from BBC TV's Old Grey Whistle Test on January 9th, 1973. I have not been able to transcribe the words precisely. Below is what I am hearing. But I cannot make out the first few words, so I include the words from the album "The Morning After" in parentheses, like so:

(She had big rosy red) hips, oh nice and round
Red rosy lips, you know they really got me down


I know very well that that is incorrect, as the progression itself is altered. This is what is on the album:

She had big rosy red hips really knocks them right on
She had juicy red lips that really laid me down


It is interesting to hear how the progressions are different from the album in 1971 to the 1973 rendition. What has come out, and been replaced is this:

Smilin' Jim, he's the cat that checks you in
Big fat Smilin' Jim, you know he signs you in
Don't ask where you goin'
He don't care where you been


What we have instead, is the Hyde Park stanza below.

If you hear it better, let me know. I am open to corrections.


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performed by J. Geils Band
      Stephen Jo Bladd, drums
      Magic Dick, harp
      J. Geils, guitar
      Seth Justman, keyboard
      Danny Klein, bass
      Peter Wolf, vocals


written by
      Seth Justman
      Peter Wolf
      & of course, Juke-Joint-Walden



Floyd's Hotel


(She had big rosy red) hips, oh nice and round
Red rosy lips, you know they really got me down
She stuck me in a taxi
And drove me way across town

She got me down, down to Floyd's Hotel
She got me down, down to Floyd's Hotel
Lotta cheap rooms
Always something nice to sell

Fellow there, you know they call him Tyrone
Fellow there, you know they call him Tyrone
He don't care where you go
Always leave you alone

Met a fellow hanging out in Hyde Park
Walking around Hyde Park, met a fellow called Tyrone
That was his name--gave him five quid
You know he really turned me on

Going down, down to Floyd's Hotel
I'm going down, down to Floyd's Hotel
Lotta cheap rooms
Always something nice to sell


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Friday, December 22, 2006

Elvis Presley & Celine Dion doing "Blue Christmas"







as rendered by Elvis Presley (1935–1977)


by Jay W. Johnson and Billy Hayes



Blue Christmas


I'll have a blue Christmas without you
I'll be so blue just thinking about you
Decorations of red on a green Christmas tree
Won't be the same dear, if you're not here with me

And when those blue snowflakes start fallin'
That's when that those blue memories start callin'
You'll be doin' alright, with your Christmas of white,
But I'll have a blue blue blue blue Christmas

You'll be doin' alright, with your Christmas of white,
But I'll have a blue blue blue blue Christmas








as rendered by Celine Dion (b. 1968)


by Jay W. Johnson and Billy Hayes



Blue Christmas


I'll have a blue Christmas without you
I'll be so blue thinking about you
Decorations of red on a green Christmas tree
Won't be the same, if you're not here with me

And when those blue snowflakes start fallin'
And when those blue memories start callin'
You'll be doin' alright with your Christmas of white
But I'll have a blue blue blue blue Christmas

Decorations of red on a green Christmas tree
Won't be the same, if you're not here with me

I'll have a blue Christmas, that's certain
And when the blue heartache starts hurtin'
You'll be doin' alright with your Christmas of white
But I'll have a blue, blue Christmas

(Merry Christmas)


Thursday, December 21, 2006

Harry Belafonte singing "I Heard the Bells on Christmas Day"




click the picture for the song in wma format


Harry Belafonte singing "I Heard the Bells on Christmas Day"






by Henry Wadsworth Longfellow (1807-1882) on Christmas Day 1864


music by John Baptiste Calkin (1827-1905) in 1872


Christmas Bells


I heard the bells on Christmas Day
Their old, familiar carols play,
          And wild and sweet
          The words repeat
Of peace on earth, good-will to men!

And thought how, as the day had come,
The belfries of all Christendom
          Had rolled along
          The unbroken song
Of peace on earth, good-will to men!

Till, ringing, singing on its way,
The world revolved from night to day,
          A voice, a chime,
          A chant sublime
Of peace on earth, good-will to men!

Then from each black, accursed mouth
The cannon thundered in the South,
          And with the sound
          The carols drowned
Of peace on earth, good-will to men!

It was as if an earthquake rent
The hearth-stones of a continent,
          And made forlorn
          The households born
Of peace on earth, good-will to men!

And in despair I bowed my head;
"There is no peace on earth," I said:
          "For hate is strong,
          And mocks the song
Of peace on earth, good-will to men!"

Then pealed the bells more loud and deep:
"God is not dead; nor doth he sleep!
          The Wrong shall fail,
          The Right prevail,
With peace on earth, good-will to men!"








Wednesday, December 20, 2006

Adonis: 'We, in Arab society, do not understand the meaning of freedom'




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This is from The Middle East Media Research Institute: Special Dispatch Series, No. 1393

The video above is better viewed on the MEMRI site from here:

MEMRI TV Clip 1335

Below is the transcript translated into English by MEMRI.


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Renowned Syrian Poet 'Adonis': 'We, In Arab Society, Do Not Understand The Meaning Of Freedom'


The poet Ali Ahmad Sa'id (b. 1930), known by his pseudonym "Adonis," a 2005 candidate for the Nobel Prize for Literature, left his native Syria for Lebanon in the 1950s following six months' imprisonment for political activity. In 1973, he received his Ph.D. from St. JosephUniversity in Beirut; in 1985, he settled in Paris, where he now works as a writer and literary critic. Among other occupations, he has edited the modernist magazine Mawaqif (Viewpoints), and translated some of the great French poets into Arabic.

The following are excerpts from interviews with Adonis, which aired on ANB TV on November 26, 2006 and on Dubai TV on March 11, 2006.



November 26, 2006 Interview

to view this clip: MEMRI TV Clip 1335



Adonis: "The difference between Europe and the Islamic world is in quality, not in degree. What I mean is that the Christian view of the world is not political, but humanistic. It is human beings who are the basis for politics.

"A Christian has great liberty to separate his religious faith from his political activity. The mistake committed by the Church in the Middle Ages was rectified--obviously after a struggle and violent revolutions--and political rule was entirely separated from politics . . ."

Interviewer: "From religion . . ."

Adonis: "From religion, sorry. In our case, political rule was based . . . Ever since the struggle over who would inherit Prophet Muhammad's place, political rule was essentially based on religion."

Interviewer: "But there were great revolutions in the Arab and Islamic world. Take, for example, the ideology of Arab nationalism. This ideology may be connected with Islamic culture, but it is still a man-made ideology."

Adonis: "But the ideology of Arab nationalism, in all its forms, is a religious ideology, in the sense that it has never raised any cardinal question concerning religion."

[. . .]

"The Arabs have managed to turn democracy or the revolution into a dynastic or monarchic regime, which is handed down. Most Arab regimes are monarchic regimes, one way or another."

Interviewer: "Including the republics . . ."

Adonis: "Especially the republics. In my opinion, while it is true that colonialism has played a role, and the wars with Israel have played a role, the greatest responsibility is, nevertheless, on us Arabs."

[. . .]

"The Arab individual does not elect from among people of different opinions who represent different currents. The Arab is accustomed to voting according to pre-determined concepts. Whoever represents this pre-determined concept . . . The nationalist will vote for a nationalist, and the communist will vote for a communist. These are all types of religious sects. The tribal and sectarian structure has not disintegrated, and has not melted down into the new structure of democracy and the democratic option."

[. . .]

"There can be no living culture in the world if you cannot criticize its foundations--the religion.

"We lack the courage to ask any question about any religious issue.

"For example, as a Muslim, I cannot say a single word about the Prophet Moses.

"The Prophet Moses did not say anything to me as a Muslim, whereas the Israeli Jew can criticize Moses and all the prophets in the Torah, and he can even question the divinity of the Torah."

[. . .]

"We, in Arab society, do not understand the meaning of freedom. We say that freedom means writing an article. Freedom is much deeper than that."

Interviewer: "Even writing an article is not possible."

Adonis: "True. Arab society is based on many types of invisible slavery, and the ideology and political rule conceal them with worthless slogans and political discourse. The underlying structure of Arab societies is a structure of slavery, not of liberty."


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March 11, 2006 Interview

to view this clip: MEMRI TV Clip 1076


Adonis: "Words are treated as a crime today. Throughout history, there has never been anything similar to what's happening today in our Arab society--when you say a word, it is like committing a crime."

Interviewer: "True."

Adonis: "Words and opinions are treated as a crime. This is inconceivable."

Interviewer: "You can be arrested for writing an article."

Adonis: "That's one example."

[. . .]

"In the Koran itself, it says that Allah listened to his first enemy, Satan, and Satan refused to obey him. I believe that Allah was capable of wiping out Satan, yet He listened to Satan's refusal to obey Him.

"At the very least, we demand that Muslims today listen to people with different opinions."

[. . .]

Interviewer: "How do you view the plan for democracy, the 'Greater Middle East' plan?"

Adonis: "First of all, I oppose any external intervention in Arab affairs. If the Arabs are so inept that they cannot be democratic by themselves, they can never be democratic through the intervention of others.

"If we want to be democratic, we must be so by ourselves. But the preconditions for democracy do not exist in Arab society, and cannot exist unless religion is reexamined in a new and accurate way, and unless religion becomes a personal and spiritual experience, which must be respected.

"On the other hand, all issues pertaining to civil and human affairs must be left up to the law and to the people themselves."

Interviewer: "Mr. Adonis, how do you view the democracy in Palestine, which brought Hamas to power?"

Adonis: "I support it, but I oppose the establishment of any state on the basis of religion, even if it's done by Hamas."

Interviewer: "Even if it liberates Palestine?"

Adonis: "Yes, because in such a case, it would be my duty to fight this religious state."

[. . .]

Interviewer: "What are the reasons for growing glorification of dictatorships--sometimes in the name of pan-Arabism, and other times in the name of rejecting foreigners? The glorification comes even from the elites, as can be seen, for example, in the Saddam Hussein trial, and in all the people who support him."

Adonis: "This phenomenon is very dangerous, and I believe it has to do with the concept of 'oneness,' which is reflected--in practical or political terms--in the concept of the hero, the savior, or the leader. This concept offers an inner sense of security to people who are afraid of freedom. Some human beings are afraid of freedom."

Interviewer: "Because it is synonymous with anarchy?"

Adonis: "No, because being free is a great burden. It is by no means easy."

Interviewer: "You've got to have a boss . . ."

Adonis: "When you are free, you have to face reality, the world in its entirety. You have to deal with the world's problems, with everything . . ."

Interviewer: "With all the issues . . ."

Adonis: "On the other hand, if we are slaves, we can be content and not have to deal with anything. Just as Allah solves all our problems, the dictator will solve all our problems."

[. . .]

"I don't understand what is happening in Arab society today. I don't know how to interpret this situation, except by making the following hypothesis: When I look at the Arab world, with all its resources, the capacities of Arab individuals, especially abroad--you will find among them great philosophers, scientists, engineers, and doctors. In other words, the Arab individual is no less smart, no less a genius, than anyone else in the world. He can excel--but only outside his society. I have nothing against the individuals--only against the institutions and the regimes.

"If I look at the Arabs, with all their resources and great capacities, and I compare what they have achieved over the past century with what others have achieved in that period, I would have to say that we Arabs are in a phase of extinction, in the sense that we have no creative presence in the world."

Interviewer: "Are we on the brink of extinction, or are we already extinct?"

Adonis: "We have become extinct. We have the quantity. We have the masses of people, but a people becomes extinct when it no longer has a creative capacity, and the capacity to change its world."

[. . .]

"The great Sumerians became extinct, the great Greeks became extinct, and the Pharaohs became extinct. The clearest sign of this extinction is when we intellectuals continue to think in the context of this extinction."

Interviewer: "That is very dangerous."

Adonis: "That is our real intellectual crisis. We are facing a new world with ideas that no longer exist, and in a context that is obsolete. We must sever ourselves completely from that context, on all levels, and think of a new Arab identity, a new culture, and a new Arab society."

[. . .]

"Imagine that Arab societies had no Western influence. What would be left? The Muslims must . . ."

Interviewer: "What would be left?"

Adonis: "Nothing. Nothing would be left except for the mosque, the church, and commerce, of course."

[. . .]

"The Muslims today--forgive me for saying this--with their accepted interpretation [of the religious text], are the first to destroy Islam, whereas those who criticize the Muslims--the non-believers, the infidels, as they call them--are the ones who perceive in Islam the vitality that could adapt it to life. These infidels serve Islam better than the believers."



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Sunday, December 17, 2006

Jimi Hendrix doing "Red House" at Woodstock




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Here's Jimi Hendrix doing Red House in Atlanta:


Duration 8:01



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by Jimi Hendrix


Red House


There's a red house over yonder, baby
Lord, that's where my baby stay
Lord have mercy, there's a red house over yonder
Lord, that's where my baby stay
Hey, I ain't been home to see my baby
I just got out of jail and it's been about a ninety-nine and one half days now
Hey, that's a long time, you know what I mean

Wait a minute, something's wrong
Lord have mercy, the key won't unlock the door
Wait a minute, something's wrong
Lord our key won't unlock the door
Hey, I gotta bad feeling
Lord, my baby don't live here no more
She ain't said a damn thing about leaving here
But I still got my guitar

Hey, I think I'll go back over yonder
Way back over yonder across the hill
Hey, I think I'll go back over yonder, baby
Way over yonder across the hill
Hey my baby don't love me no more
Lord I know good and well that her sister will


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Friday, December 08, 2006

Black Oak Arkansas doing Jim Dandy



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performed by Black Oak Arkansas
        Tommy Aldridge, drums
        Pat Daugherty, bass
        Harvey Jett, guitar
        Stanley Knight, guitar
        Jim "Dandy" Mangrum, vocals
        Rick Reynolds, guitar
        Ruby Starr, background vocals


written by Lincoln Chase



Jim Dandy


(That's my Jim Dandy.)

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

I was sitting on a mountain top,
30,000 feet to drop.
Spied a lady on a runaway horse.
Uh huh, that's right, of course.
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

One day, I met a girl named Sue.
She was feeling kind of blue.
I'm Dandy, the kind of guy,
who can't stand to see a little girl cry.
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
(Go, Jim Dandy! Go-o-o-o!)

I was riding in a submarine.
Got a message from a mermaid queen.
She was hanging on a fishing line.
Mr. Dandy didn't waste no time.
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

Once upon a time, I went to Maine.
Got a ticket on a DC plane. (Oh, yeah!)
Mr. Dandy didn't need no chute.
I was high and ready to boot.
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

Go, Go, Go, Jim Dandy!
Go, Go, Go, Jim Dandy!
Go, Go, Go, Jim Dandy!
Go, Go, Go, Jim Dandy!
(Go-o-o-o-o-o-o!)



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Monday, December 04, 2006

"Don't Run Wild" by The Del Fuegos

Duration 3:35



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performed by The Del Fuegos
        Brent "Woody" Giessmann, drums
        Tom Lloyd, bass
        Dan Zanes, lead vocals
        Warren Zanes, guitar


by James Ralston, Dan Zanes, & Tom Lloyd



Don't Run Wild


Oh baby what's gone wrong
You don't laugh on the phone like you used to
Have I been gone too long
Where's the love that I've gotten used to

All the good times we had
Our dreams might take a while
So baby don't you run
Don't run wild

Trees fly by you in a far away car
Wonderin' when I'll see you again
The TV's on, the sound turned down
All the letters that I tried to send

All the good times we had
Seems our dreams might take a while
So baby don't you run

Don't run wild
Don't run wild
Don't run wild
Don't run, don't leave me child

Don't run wild
Don't run wild
Don't run wild
Don't run, don't leave me child

Don't run wild
Don't run wild
Don't run wild
Don't run wild

Don't run wild
Don't run wild
Don't run wild
Don't run wild


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