Who Do You Love – Ronnie Hawkins & The Band

I’m telling this chick … how bad I am, so she can go tell the cat she’s hanging with, “this dude is something else.” That’s what it kinda meant, cat ridin’ rattlesnakes and kissin’ boa constrictors and stuff

– Bo Diddley

This sizzling rockabilly number, written in 1956 by American rock and roll pioneer Bo Diddley, opened The Last Waltz concert. The Band were going back to their roots, acknowledging their humble beginnings with Ronnie Hawkins. Between 1958 and 1963, the group were known as the Hawks and served as the backing band for Hawkins, who was based in Toronto, Ontario. In the mid-1960s, they gained recognition for backing Bob Dylan on his controversial 1966 concert tour as his first electric band. 

Nearly every performance from that legendary concert has featured on this blog, and thanks be to Martin Scorsese, who captured the spectacle in all its glory. You shudder to think of a music world in which the Band’s farewell concert had not been recorded on film. The Last Waltz signs and seals the Band’s enormous legacy in Americana and folk rock, and their place among the performers within those musical worlds.

Who Do You Love? is such an upbeat rocker, and it’s masterfully delivered here by Ronnie and the Band in all its rich, gritty and entertaining detail. Amazingly, the song was part of Bo Diddley’s repertoire throughout his career, but none of his various recordings reached the record charts. Bo Diddley got the inspiration from the song in Kansas City where he heard a group of children trying to out-brag one another using a particular rhythm.

Ronnie Hawkins performed “Who Do You Love?” during live engagements as early as the late 1950s. It was released as a single with the title “Who Do You Love” backed with “Bo Diddley. Although the single only lists the artist as “Ronnie Hawkins”, he was backed by his band the Hawks. Robbie Robertson’s guitar playing was noted by several music writers, one noting it “a good few years ahead of its time in its manic distorted intensity“.

Hawkins’ single was a hit in Canada, but except near the border in the Great Lakes area, the record was largely unnoticed and did not appear on the US Billboard charts.

“demanding an ebullient, loose, insistent, repetitive groove, with roots in Southern, rural culture”

– Band biographer Neil Minturn on Who Do You Love

I walk 47 miles of barbed wire
I use a cobra-snake for a necktie
I got a brand new house on the roadside
Made from rattlesnake hide
I got a brand new chimney made on top
Made out of a human skull
Now come on take a walk with me, child
And tell me, who do you love?

Who do you love?
Who do you love?
Who do you love?
Who do you love?

Tombstone hand and a graveyard mine
Just 22 and I don’t mind dying

Who do you love?
Who do you love?
Who do you love?
Who do you love?

I rode around the town, use a rattlesnake whip
Take it easy child, don’t give me no lip

Who do you love?
Who do you love?
Who do you love?
Who do you love?

Night was dark, but the sky was blue
Down the alley, the ice-wagon flew
Heard a bump, and somebody screamed
You should have heard just what I seen

Who do you love?
Who do you love?
Who do you love?
Who do you love?

Arlene took me by my hand
And she said ooowee boy, you know I understand

Who do you love?
Who do you love?
Who do you love?
Who do you love?

References:
1. Who Do You Love? (Bo Diddley song) – Wikipedia

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Who By Fire – Leonard Cohen

Who By Fire is about as solemn and spiritual as you are ever likely to hear from Leonard Cohen, and given his propensity for heavily laden lyrics of religious significance, you know I am not beating around the bush when I say that. I have always found it to have the feel of a meditative, transcendental chant that just flows right through you as if it were ‘water’ in song.

The opening line – And who by fire, who by water – immediately shows how the divine can seem to pervade the natural world, even down to our very skins. It is taken from the Unetanneh Tokef prayer, where fire, water and other forces are part of the larger question of how human beings may die.
Now, if that doesn’t get your song juices flowing! This is like Blowin’ in the Wind for grown-ups.

Most of the following was abridged from the two references shown at the end of this article. If there was ever a song that required background detail, then Who By Fire surely sits at the top of the list, and it is important to get it right:

The song was written after Cohen’s improvised concerts for Israeli soldiers in the Sinai Peninsula during the Yom Kippur War which you see him doing in the image above. On October 6, 1973, the Yom Kippur War started when an Arab coalition led by Egypt and Syria, launched a surprise attack on the Jewish holy day of Yom Kippur.

Amid high fatalities among Israeli soldiers and a sense of despair in the country, Cohen arrived in the country to perform on the battlefield in the Sinai Peninsula for small groups of soldiers. He said: “I am joining my brothers fighting in the desert,” adding “I don’t care if their war is just or not. I know only that war is cruel, that it leaves bones, blood and ugly stains on the holy soil.”

The song was included on Cohen’s 1974 album New Skin for the Old Ceremony, his fourth studio album. The original cover art you see was an image from the alchemical text Rosarium philosophorum. The two winged and crowned beings in sexual embrace caused his U.S. record label, Columbia Records, to print one early edition of the album minus the image substituting instead a photo of Cohen.

Who By Fire is rooted in Cohen’s Jewish background and features backing vocals from American singer Janis Ian. It is adapted loosely from the Hebrew prayer “ונתנה תוקף קדושת היום” [“U’Netaneh Tokef Kedushat Hayom” (“Let Us Tell How Utterly Holy This Day Is”)], chanted on Yom Kippur.

According to a Jewish legend, Rabbi Amnon of Mainz was punished for refusing to convert to Christianity by having his limbs cut off. Dying from his wounds, he was taken to the synagogue, where he recited the Unetanneh Tokef prayer, which includes the words “Who by fire and who by water?” before he died.

Like the original, Cohen’s song tells of a litany of ways and reasons one might meet their death: fire, water, suicide, drugs, and so on-some of which appear in the original prayer.

The prayer that inspired Cohen reads, in part:

On Rosh Hashanah will be inscribed and on Yom Kippur will be sealed how many will pass from the earth and how many will be created; who will live and who will die; who will die at his predestined time and who before his time; who by water and who by fire…

Cohen took this ancient litany of mortality and transformed it into his own unsettling meditation on death, fate and uncertainty.

[Verse 1]
And who by fire, who by water
Who in the sunshine, who in the night time
Who by high ordeal, who by common trial
Who in your merry merry month of May
Who by very slow decay
And who shall I say is calling?

[Verse 2]
And who in her lonely slip, who by barbiturate
Who in these realms of love, who by something blunt
And who by avalanche, who by powder
Who for his greed, who for his hunger
And who shall I say is calling?

[Verse 3]
And who by brave assent, who by accident
Who in solitude, who in this mirror
Who by his lady’s command, who by his own hand
Who in mortal chains, who in power
And who shall I say is calling?

References:
1. Who By Fire – Genius Lyrics
2. Who By Fire (song) – Wikipedia

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Whitewash County – Elton John

This is one of Elton John’s most unheralded great latter-career songs. It’s got this irresistible groove and energy, and John is fantastic on the keys. It’s one of my favourite energetic, piano-driven tracks by him, with two great solos thrown in, and the one that wraps up the song is one of the finest piano passages I’ve heard in his vast catalogue.

I’m surprised Whitewash County wasn’t released as a single from The One (1992), which might partly explain its relative obscurity. The song emphasizes the piano sound of his early albums. On The One, he returned to playing an acoustic piano, using a Yamaha Disklavier, after the Roland RD-1000 digital piano had featured heavily on several of his previous albums.

It has a country, almost bluegrass, flavour, and it’s a great melody for his expressive voice too. Bernie Taupin’s lyrics are outstanding as well and complement the frenetic pacing of the music. It’s crafty too, as it combines an upbeat, driving tempo with dark, politically charged storytelling. I just love the lines:

Fans turning on the ceiling
I feel sticky as a chili dog

The song seems to critique the deceptive nature of power in a Southern setting, using metaphors such as ‘Whitewash County’ and ‘the devil in a suit’ to symbolize the struggle between truth and manipulation. On the official Elton John website, it states:

The final lines in the song Whitewash County (“Well you’ve changed your face so often / But you never change your mind”) refer to American white nationalist David Duke and his plastic surgery.


The One was John’s first album project since his rehabilitation from drug and alcohol addictions and bulimia in 1990. It was his biggest-selling album in the US since 1976. The album peaked at No. 8 on the Billboard 200 chart, where it remained for almost a year.

Verse

Tonight it′s hot down here
I can almost smell the rain
And I can almost taste the fear
Behind your name
Fans turning on the ceiling
I feel sticky as a chili dog
White boys howling in the evening
On that hollow log

Pre-chorus

Tall tales down the river
Say we aim to bury the truth
But the right hand just delivered
The devil in a suit

Chorus

And he talks big in Whitewash County
Talks sweet as sugar cane
Got a past that’s filled with lightning
Got a future filled with rain

Verse

Bug buzzing in an empty glass
Fiddle scratching some lazy tune
We′re just some place that history passed
New dust, new broom
And it’s a high hot buttered moon
He’s got a shiny new wax face
Swears the South′s gonna rise again soon
All over the place

Prechorus

Tall tales down the river
Say we aim to bury the truth
But the right hand just delivered
The devil in a suit

Chorus

And he talks big in Whitewash County
Talks sweet as sugar cane
Got a past that′s filled with lightning
Got a future filled with rain

And he talks big in Whitewash County
Talks sweet as sugar cane
Got a past that’s filled with lightning
Got a future filled with rain

Outro

Rain down on Whitewash County
Smell the air coming up the line
Well you′ve changed your face so often
But you never change your mind

References:
1. The One (Elton John song) – Wikipedia
2. ‘The One’ – 30 Facts for 30 Years – Elton John

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White Flag – Dido

(White Flag is) engaging to the extent that you could easily be humming along without it registering in your brain. There’s something unconscious, pleasantly innocuous about it. It’s comfort food for the ears.
– Derryck Strachan for BBC Music 

I like the cosy and warm sound in Dido’s music, and White Flag has it in spades. It’s just so sweet and unpretentious in its restrained electronic style, with subtle percussion and delicate piano and strings. Her airy and soothing voice is matched by her understated, girl-next-door looks and charm.

White Flag is her declaration of unfailing love for another. It’s her last bastion of hope in a floundering relationship, asserting that she is even willing to go down with her ship before giving up on that special someone in her heart.

There will be no white flag above my door
I’m in love and always will be


She admits that she was wrong and messed things up, but she is just craving one more chance. But where it gets even more complicated is that she accepts that if he lives by the rules of “It’s over”, and they do meet, she’ll hold her tongue and he’ll think she has moved on. Love can be a topsy-turvy thing, can’t it? But she ends with her pledge never to surrender and to remain dedicated to this love, even if it takes her down with it.

“That was about at the time of my ex-fiancée. We broke up and it is a classic heartbreak song.”Dido

White Flag was the lead single from her 2003 album Life for Rent. The song was a global hit, reaching No. 2 in the UK, No. 1 in Australia and a whole host of European countries, and No. 18 in the US.


[Verse 1]
I know you think that I shouldn’t still love you
I’ll tell you that
But if I didn’t say it, well, I’d still have felt it
Where’s the sense in that?
I promise I’m not trying to make your life harder
Or return to where we were

[Chorus]
But I will go down with this ship
And I won’t put my hands up and surrender
There will be no white flag above my door
I’m in love and always will be

[Verse 2]
I know I left too much mess and destruction
To come back again
And I caused nothing but trouble
I understand if you can’t talk to me again
And if you live by the rules of “It’s over”
Then I’m sure that that makes sense

[Chorus]

[Bridge]
And when we meet
Which I’m sure we will
All that was there
Will be there still
I’ll let it pass
And hold my tongue
And you will think
That I’ve moved on

[Chorus]
I will go down with this ship
And I won’t put my hands up and surrender
There will be no white flag above my door
I’m in love and always will be
I will go down with this ship
And I won’t put my hands up and surrender
There will be no white flag above my door
I’m in love and always will be

[Outro]
I will go down with this ship
And I won’t put my hands up and surrender
There will be no white flag above my door
I’m in love and always will be

References:
1. White Flag (Dido song) – Wikipedia

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The Story – Brandi Carlile

Brandi Carlile’s bandmate Phil Hanseroth wrote this song, and it became the title track of her 2007 album. I enjoy hearing it whenever it comes on my music player. It has lots of different guitar textures and, at times, reaches a cool heavier rock sound. You can tell the twin Hanseroth brothers had played in hard rock bands before joining Carlile.

The Story is a journey song with a healthy dose of love thrown in. It begins in a fairly gentle way before gradually building in intensity with each verse. It’s supposed to peak at 2:52 as Carlile virtually yells All of these lines across my face, and that scream-singing feels way overdone. It’s disappointing because the song carries so much passion and authenticity up until that moment, and that delivery definitely takes me out of it.

Besides that, I like Carlile’s rough and weathered voice here. It can sound strong and forceful one moment, then warm and tender the next. Carlile has cited Melissa Etheridge as a major influence, and you can hear that in her sound. Brandi Carlile’s music is generally categorized as Americana and folk rock. If you would like to read more about the song, I point you to this article: Inside the Song: “The Story” by Brandi Carlile.

The song was featured in Grey’s Anatomy in 2007 and was included in the 2011 musical episode Song Beneath the Song. The track was later covered by LeAnn Rimes and Dolly Parton. I really like Dolly’s beautifully tender version and I quickly added it to my collection. It gives Carlile’s original some serious run for its money. Do check out the background story at the end of this post on how Carlile reached out to Parton. Fun read.

The Story was recorded live to tape, with all the performers playing and singing at the same time rather than following the usual practice of recording parts separately and combining them later. It was produced by T Bone Burnett.

The song made only a modest impact on the charts, reaching No. 75 on the US Billboard Hot 100 and No. 44 in Australia. However, it did reach No. 1 in Portugal.


Background (Wikipedia):

When Carlile began planning to record a cover of her 2007 album, The Story, she said that her idol, Parton, was the only person she had in mind to record the title track. When Carlile wrote Parton asking her to record the track, she suggested Parton could drop the key to make it easier to sing. She later recalled the letter, saying it was “about the stupidest thing I think I’ve ever put down in writing.” Parton enthusically accepted the offer to record the song and in her hand-written response she told Carlile, “Honey, do me a favor. Don’t drop the key. I think I can handle it.” Upon hearing the completed recording, Carlile realized she had been one-upped, saying, “Every gratuitous and show-offy note that I hit in that song, Dolly hits it initially and then takes it higher. She just completely takes me to school.

[Verse 1]
All of these lines across my face
Tell you the story of who I am
So many stories of where I’ve been
And how I got to where I am

[Chorus]
But these stories don’t mean anything
When you’ve got no one to tell them to, it’s true
I was made for you

[Verse 2]
I climbed across the mountaintops
Swam all across the ocean blue
I crossed all the lines and I broke all the rules
But baby, I broke them all for you

[Chorus]
Oh, because even when I was flat broke
You made me feel like a million bucks, you do
I was made for you

[Verse 3]
You see the smile that’s on my mouth
It’s hiding the words that don’t come out
And all of our friends who think that I’m blessed
They don’t know my head is a mess

[Chorus]
No, they don’t know who I really am
And they don’t know what I’ve been through like you do
And I was made for you

[Breakdown]
All of these lines across my face
Tell you the story of who I am
So many stories of where I’ve been
And how I got to where I am

[Chorus]
Oh, but these stories don’t mean anything
When you’ve got no one to tell them to, it’s true
I was made for you

[Outro]
Oh yeah, well, it’s true
That I was made for you

References:
1. The Story (Brandi Carlile song) – Wikipedia
2. Inside the song: “The Story” by Brandi Carlile – Jeffrey Pepper Rodgers

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White Dress – Kenny Marks

This 1987 song White Dress induces tears in me more easily than any other song. There, I’ve said it. It’s the heartbreakingly beautiful story of a girl growing up in a single-parent household after her father leaves when she is still young.

Life is hard with just one parent and puts a strain on both the girl and her mother, and they wonder who to blame. Her mother tells her that the reason her father left was that he had fallen out of love with her, and that it had absolutely nothing to do with the girl. Eventually, the girl grows into a young woman, goes to the prom and, years later, has a family of her own. It’s here that the song gets even more moving.

I don’t want to give anything more away, so you’ll just have to listen to it yourself. The lyrics and story are captivating and well deserving anyone’s attention. By the end, I always find myself an emotional wreck, even now, despite hearing it for the umpteenth time over the years.

Such is its effect that sometimes, when it comes on my player and I’m not in the right mood to cope with it, I might skip it since it hits just so close to home.

The late American Christian singer wrote other songs about separation and kids dealing with it. In The Next Time You See Johnny, which also featured here, he tells the story from the perspective of a young boy whose father has also left, and he prays, “Could You bring back my daddy? / I know that You’ll find a way.” It contains one of the finest guitar passages I’ve ever heard, wrapping up a song.

It’s heavy subject matter, but Kenny treats it with the respect and sensitivity it deserves while also highlighting the impact of family breakdown on the young and innocent. It’s a subject rarely broached in modern contemporary music.

If only one person has been so touched and made to think twice while listening to this before making a decision that leads to an unwanted pregnancy, as explored in The Party’s Over – Marks’ prequel to the above Johnny song – or before a man or woman walks away from their family, then it has served its purpose.

I became familiar with the Christian singer Kenny Marks when a friend of mine ‘Eric’ lent me his cassette tapes in school. In no time I consumed a lot of Kenny’s music and even bought his greatest hits collection years later called ‘Absolutely Positively‘. All of his songs had very strong and uplifting messages.

Kenny comes from the Evangelical and Charismatic branches of the Christian tree, having played for fellowship groups and at Billy Graham events. Although his name may not be known to a younger generation of Christian music aficionados, at his height in the ’80s and ’90s he was a true Contemporary Christian Music star, with a string of US Christian radio hits.

His songs might be considered too sanguine, sentimental and ‘rote by numbers’ by modern tastes and a cynical world, but I won’t shy away from them since they impacted and informed me at such an impressionable age. They haven’t worn on these listening ears despite how long I’ve been hearing them.

As always, thanks for reading and listening. Cheers folks.

She wore a white dress
And a rainbow ribbon in her hair
One candle burned on her birthday cake
Mom and dad are there
Wishing they could be like her
Without a care

She wore a pink dress
To her school on the very first day
Her mom and dad drove her there
And they cried as they drove away
Tears for her
But more tears for yesterday

She wore a blue dress
And rode her bike to the corner store
Daddy said now he’s leaving for good
And he slammed the door
No goodbyes
No more daddy anymore

Well, as she grew up
They grew apart
It’ll never be the same
Now they watched love go
With a heavy heart
And they wonder who’s to blame
“It’s not your fault that he went away
He went walking out the door
And it’s not your fault that he had to say
He didn’t love me anymore”

She wore a red dress
And her momma’s single strand of pearls
Dressed and ready for the senior prom
What a lovely girl
And her momma said:
“You’re a woman now and it’s time I said
This certain thing or two
Have the time of your life, and remember, dear
I’m so very proud of you”

Oh, it’s not your fault that he went away
There was nothing you could do
And please believe me when I say
There is nothing wrong with you

She wore a white dress
One candle burns as it did before
Her baby smiles at the sad old man
Standing at the door
And he said:
“I don’t know what I ever left here for”

“Well, I can’t stay long, but I want to say
A certain thing or two
Since I’ve been gone, my world’s been grey
The color stayed with you”
And before he left, he laid a gift
On baby’s little bed
Inside they found a rainbow dress
Of white, pink, blue and red
Of white, pink, blue and red

References:
1. Kenny Marks – Wikipedia

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Northport Yachting Club

I think going clothes shopping is one of my most difficult assignments, especially when it comes to T-shirts. Seinfeld does a bit about how, at a certain age, men just get bored or nonplussed with the whole charade and decide, I’m going to wear this for the rest of my life.

So often when you see older gents, you can almost determine which decade they decided, To hell with it, I’m just going to keep wearing these clothes from this era and be done with it.

There’s another funny bit about men wearing their underwear until the last bit of fabric remains, or at least until the elastic loosens to such a degree that you return home with your undies hanging nearly beneath your butt cheeks. OK, well, I added that last bit because it happened to me yesterday.

So the last time I went clothes shopping – arghhh! – I came across a ‘two for one’ bottom-of-the-barrel T-shirt deal. I snapped it up. I figured if they didn’t last after a few washes, at least I could turn them into shirt undergarments for my makeshift pyjamas. Sweet!

Anyway, the shirt you see above was one of the two I bought, and I’m relieved to say that despite a few loads, they’ve held up pretty well. Bargain!

The weird thing is, it was only this morning, when I laid it out to put on, that I actually read what was written on it – for the first time, at least from what I remember:

‘Northport – Yachting Club.’

Huh.

And I wondered if, by wearing it, people walking past me might think, Wow. Did you just see that guy who walked past? He’s in the Northport Yachting Club. That’s pretty neat, although he’s obviously not too fond of ironing.

I have a hard enough time spelling yacht, let alone being a member of a yachting club. Even trying to spell it here to begin this article, my immediate attempts were yaght, then yaut. Well, you get the drift – excuse the pun. I actually had to insert the image to get the spelling right.

Or perhaps people wise up to it, You know what? I reckon that guy’s full of shit and is brandishing something he has absolutely no claim to.

Also, Bogotá is so far removed from the coast that you’d have to travel a full 24 hours before even getting within the vicinity of a yaghting… yauting… yachting club.

I remember my father wearing a cap that had Skipper written on it, along with some US Navy emblem. Same thing. People can pick up the scent of bullshit a mile off.

Anyway, these bizarre thoughts sometimes come to me and I find myself chuckling on the street. In any time previous, people might have thought, There goes another one for the looney bin.

Thankfully, because I have an earbud in to listen to music – I lost the other one – people can just think I’m responding to a conversation on hands-free. I’m hip. I’m down with it. The grey hair is just a cloak.

So I’m squeaky clean and can go on without a care in the world, just like people often do.

Oh, I have a call coming in.

It’s the Northport Yachting Club wondering when I’ll be needing my skiff.

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Where Were You Last Night? – The Traveling Wilburys

The tone of the acoustics on this track is the standout for me here, and combined with that tasty rhythm and the congenial vocal harmonies we’re accustomed to hearing from them, it makes this yet another keeper from the supergroup, The Traveling Wilburys. It’s just got a great sound.

You can also tell they were having a lot of fun making this record, given the frivolous nature of the lyrics and their playful alternating of vocals. The song’s lead vocals here are by Bob Dylan and George Harrison. The song tells of a love interest who has gone AWOL, and they ask where she’s been and who she’s been seen with. Worst of all, she’s making a name for herself. It’s all a bit twisted and tongue-in-cheek really, but in keeping with the humour throughout the record.

This cool little toe-tapping number is taken from their second and final studio album, Traveling Wilburys Vol. 3 (1990). Volume 3 seems less well-honed in its endeavour compared to their classic Volume 1 debut. Petty described the album as “a little more rough and ready, a bit more raucous” than Vol. 1.

Also, considering the fairly recent tragic passing of Roy Orbison, I imagine the group wasn’t trying to live up to or measure themselves by what they’d done previously. You simply can’t replace someone like Roy.

We’d become this unit, we were all good pals … We always knew we were going to do another one, and now it’s just the four of us.”
— Jeff Lynne

Harrison was the most active in promoting the Wilburys, carrying out interviews well into 1989. He said he was “waiting for all the other Wilburys to finish being solo artists” so that they could renew the collaboration. Despite Volume 3 not being anywhere near as popular as Volume 1, it still contains some very good songs that have unfortunately flown under the radar when people recall the music of the Traveling Wilburys.

I assumed Vol. 2 was skipped in memory of Roy Orbison, but according to Jeff Lynne, “That was George’s idea. He said, ‘Let’s confuse the buggers‘.” After Roy’s passing, the remaining four members adopted new pseudonyms for Vol. 3 – Spike (George Harrison), Clayton (Jeff Lynne), Muddy (Tom Petty) and Boo (Bob Dylan).

Vol. 3 was dedicated to Orbison as “Lefty Wilbury”, the pseudonym Orbison had used in 1988 in honour of his hero, Lefty Frizzell.

After the Wilburys (Wikipedia):

According to Jim Keltner, the decision on the group’s future after Vol. 3 lay with Harrison. Keltner said that from his conversations with Lynne, Petty and Dylan, they were all keen to reunite, whereas Harrison wavered in his enthusiasm.

Where were you last night?
You were so uptight
What did you do? Who did you see?
Were you with someone who reminded you of me?
Where were you last night?

Where were you last week?
Were you up a creek?
Did you stay up pacing the floor?
Got me worried
You ignore me more and more

Where were you last night?
You weren’t around me
When they found me
Where were you last night?

You better stop your messin’ around
Your name is going round from town to town
It’s making me sad, making me feel bad
Where were you last night?

Where were you last year?
You sure as hell weren’t here
You weren’t waiting where you said
You sent someone in your place instead

Where were you last night?
It’s getting to me
Making me gloomy
Where were you last night?

References:
1. Traveling Wilburys – Wikipedia

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Darlington County – Bruce Springsteen

Springsteen and the E Street Band are putting the pedal to the metal in this no-nonsense rocker, with him and his buddy Wayne racing down the highway. It’s one of his purest escapist songs, and you can’t help but be taken for the ride. It’s once again great ol’ bare-knuckles storytelling from the Boss, but not just that. The music seems to mimic the car’s motor as they roar towards Darlington County.

Hey, you kids out there, don’t copy what Bruce and Wayne are doing here, or you might find yourself like Wayne does, handcuffed to the bumper of a state trooper’s Ford. He picks up a girl on the way to party all night and then after Sha-la-la, sha-la-la, la-la. You get the picture. This song doesn’t mess about, and that’s what’s so exhilarating about his real-time telling of his trip to Darlington County in South Carolina. I think lots of men and women can recall from their young adulthoods having taken some crazy trip chasing excitement and opportunity and where they might not have got up to much good.

It fits perfectly on his global mega-hit and most commercially successful record, Born in the U.S.A., one of the biggest-selling albums of all time. Cha-ching! Darlington County also reflects, like many other songs, this working-class, Everytown USA image, which is of course highly relatable and a refreshing raw change from the ’80s pop-synth sound that had run amok everywhere. Also, you can really sense the small-town feeling in this.

Interestingly, Springsteen wrote Darlington County during the sessions for Darkness on the Edge of Town (1978). The song was played during every leg of the Born in the U.S.A. Tour and was often paired with Working on the Highway in performance. When performing it live, Springsteen frequently plays the first few bars of the Rolling Stones’ Honky Tonk Women before the first verse.

[Verse 1]
Driving into Darlington County
Me and Wayne on the Fourth of July
Driving into Darlington County
Looking for some work on the county line
We drove down from New York City
Where the girls are pretty, but they just want to know your name
Driving into Darlington City
Got a union connection with an uncle of Wayne’s

[Pre-Chorus 1]
We drove 800 miles without seeing a cop
We got rock and roll music blasting off the T-top

[Chorus]
Singin’ sha-la-la, sha la-la, la-la
Sha-la-la, la, la-la, la
Sha-la-la, sha la-la, la-la
Sha-la-la, la, la-la, la

[Verse 2]
Hey, little girl standing on the corner (Hey!)
Today’s your lucky day for sure, all right
Me and my buddy, we’re from New York City
We got $200; we want to rock all night (Oh, yeah)
Well, girl, you’re looking at two big spenders
Why, the world don’t know what me and Wayne might do
Our pa’s each own one of the World Trade Centers
For a kiss and a smile, I’ll give mine all to you

[Pre-Chorus 2]
Come on baby, take a seat on my fender
It’s a long night, and tell me, what else were you gonna do?
Just me and you, we could

[Chorus]
Sha-la-la, sha la-la, la-la
Sha-la-la, la, la-la, la
Sha-la-la, sha la-la, la-la
Sha-la-la, la, la-la, la

[Verse 3]
Little girl, sitting in the window
Ain’t seen my buddy in seven days (Play it, boys)
County man tells me the same thing
He don’t work and he don’t get paid
Little girl, you’re so young and pretty
Walk with me and you can have your way
And we’ll leave this Darlington City
For a ride down that Dixie Highway

[Bridge]
Driving out of Darlington County
I’ve seen the glory of the coming of the Lord
Driving out of Darlington County
Seen Wayne handcuffed to the bumper of a state trooper’s Ford
Whoa!

References:
1. Darlington County (song) – Wikipedia

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Posted in Music

Jason Arday death ‘tragedy on so many levels’ says PM – BBC

When I was reading all the credible accusations against Arday over the last week or so, I thought, as terrible as it sounds, I bet he kills himself. The evidence was simply insurmountable. First and foremost, the BBC had reported virtually nothing about these well-founded accusations. So, I published here briefly UnHerd’s recent interview about the scandal with Kathleen Stock.

This following anecdote is very important to understanding the BBC and what Herbert Marcuse exemplified in Repressive Tolerance in 1965, which essentially brought Marxist and radical leftist thinking (academically) into the West:

“It involves the withdrawal of tolerance of speech and assembly of groups on the Right and aggressive partisan promotion of speech and groups on the Left.”

Then, after Arday takes his own life, they (the BBC) suddenly report on it and, as you might expect from this radical left-wing press machine, turn their attention towards his accusers. Since then, there has been a mountain of articles and videos laying the blame on those on social media exposing his lies. It’s obscene seeing empathy going this haywire.

While any death is tragic, if Arday was even remotely accurate in the things he said and had the least bit of integrity, you might think he would have defended himself. Gad Saad’s take on the Arday aftermath in Did Systemic Structural Racism Result in Jason Arday’s Suicide? gets it pretty much right. Make him a a Martyr. Not on my watch.

So, he takes his own life, seemingly not caring two shits about his family and kids, while knowing this would give the radicals an opportunity to point the finger at his accusers. In life and in death, he has ended up exactly as his well-informed accusers were saying: a charlatan and coward.

Welcome to the modern day left.

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