Category Archives: Music et al

John Lennon, Music et al, Today in history

Plastic Ono Some Time NYC

Leave a comment

Plastic Ono Some Time NYC

John Lennon
Released June 12, 1972
“New York City” live @ Madison Square Garden Que pasa, New York?
Plastic Ono Some Time NYC

Life after the Beatles

The last Beatle album, Let It Be, was  already more than two years old. Each of the individual Beatles had been active since the breakup. Elvis met President Nixon and asked for a badge to be a drug czar. The FBI was investigating Lennon to back up a plan to deport him.

Life for John Lennon and Yoko Ono had become political. It is no surprise that Some Time in New York City happened.

Ironically, Lennon pursued this political avenue at the same time that traditional political singers such as Joan Baez and Judy Collins had moved away. No matter.

Plastic Ono Some Time NYC

In Your Face

The album was not a subtle one and smacked us right in the face with its first track: “Woman Is Nigger of the World.” To say some stations wouldn’t play it is an understatement.  The National Organization for Women awarded Lennon and Ono a “Positive Image of Women” citation for the song’s “strong pro-feminist statement” in August 1972.

The album cover resembled a newspaper with articles reflecting the songs. I’m sure the picture of President Nixon and Chairman Mao dancing nude didn’t help get Lennon off of Nixon’s Enemies List.

Plastic Ono Some Time New York City

Plastic Ono Some Time NYC

Some Time in New York City

It was a double-album with the second disc live material. The studio tracks were the main statements. All were co-written by Lennon & Ono except where noted:

Side one
  1. “Woman Is the Nigger of the World”
  2. “Sisters, O Sisters” (Ono)
  3. “Attica State”
  4. “Born in a Prison” (Ono)
  5. “New York City” (Lennon)
Side two
  1. “Sunday Bloody Sunday”
  2. “The Luck of the Irish”
  3. “John Sinclair” (Lennon)
  4. “Angela”
  5. “We’re All Water” (Ono)

Yoko Ono’s influence, presence, and art continued to rankle some fans and critics. Even today it seems de rigueur and reflexive for many to mock and demean her at the mention of her name .

Rolling Stone magazine still held powerful sway over what fans felt. Stephen Holden’s July 20, 1972 review read in part, ““except for ‘John Sinclair’ the songs are awful. The tunes are shallow and derivative and the words little more than sloppy nursery-rhymes that patronise the issues and individuals they seek to exalt. Only a monomaniacal smugness could allow the Lennons to think that this witless doggerel wouldn’t insult the intelligence and feelings of any audience.”

Time has been kinder than Holden, but still few today think of this work as Lennon’s best. [All Music review] [Ultimate Classic Rock review]

Having said that, Lennon on a bad day is far better than nearly all of us on any day.

Plastic Ono Some Time NYC

Music et al, Music of the 60s

Stones Come On Chuck Berry

3 Comments

Stones Come On Chuck Berry

Chuck Berry

Stones Come On Chuck Berry“Come On” is a straight-forward tune written by the straightforward rock n’ roll icon Chuck Berry. The Rolling Stones were searching for the “right” first song to release as a single and “Come On” met the criteria.

Chuck Berry, one of their favorite composers and one of British youths favorites as well. It’s about frustrated love, broken cars, and wrong numbers. A fine recipe.              

Stones Come On Chuck Berry

June 7, 1963

The Stones released their inaugural song on June 7, 1963, nine months after their friends, The Beatles, had released their inaugural single, “Love Me Do,” on October 5 , 1962 [a song without cars, phone calls, or by Chuck Berry, but it did have frustrated love].

Stones Come On Chuck Berry

Not quite Chuck

According to an All Music review, the  Stones’s song differs from Berry original in several ways:

  1. the Rolling Stones quickened the tempo
  2. they put more emphasis on off-beat guitar chording and wailing harmonica
  3.  the rhythm came close to reggae
  4. on the chorus, Mick Jagger was backed up by high harmonies
  5. they changed one of the lyrics substituting “some stupid guy” for the “some stupid jerk”
  6. an upward key change was thrown in for the last verse.

I would have never noticed, but some do and find the differences important. You can listen and decide for yourself.

Stones Come On Chuck Berry

Can you tell the difference?

Willie Dixon

The Stones’ B-side of “Come On” was “I Want to Be Loved” by Willie Dixon.  It was written in 1955 and reflects the Rolling Stones’s love of American blues roots.

Here’s their version:

This song’s theme has frustrated love, frustrated dancing, and frustrated attention.

The single did well, but did not catapult them into stardom.

1963 touring

In July, they played their first gig away from London in Middlesbrough, England. They shared the bill with The Hollies.

In the autumn of 1963, they toured the United Kingdom and opened for Little Richard, Bo Diddley and The Everly Brothers.

Second single

They also released their second single, “I Wanna Be Your Man.” The title may sound familiar and it should. The song was written by those upcoming Beatles, John Lennon and Paul McCartney. The single reached #12 on the UK singles chart.
Stones Come On Chuck Berry

Anniversary, Blues, Festivals

WC Handy Memorial Concert

2 Comments

WC Handy Memorial Concert

or the official full name…
The Fourth Annual Memphis Country Blues Festival
and the
First Annual WC Handy Memorial Concert

1969 festival #12

Mississippi Fred McDowell – “Goin’ Down to the River”

WC Handy Memorial Concert

WC Handy Memorial Concert

Memphis Sequicentennial Inc

The poster reads: The Memphis Sesquicentennial Inc. in conjunction with The Memphis Country Blues Society proudly presents The Fourth Annual Memphis Country Blues Festival and First Annual W.C. Handy Memorial Concert The Festival will officially begin Friday June 6 and Saturday June 7, 1969 with three daytime concerts and two evening concerts all in the Overton Park Shell, culminating with the W.C. Handy Memorial Concert in the Mid-South Coliseum on Sunday June 8th. Tickets for the Shell concerts will be available at time of performance only Tickets for the W.C. Handy concert will be on advance sale at many Memphis locations ($2.50 to $5.00) Claude Mabel (artist?)

WC Handy Memorial Concert

Some line-up!

Those who played at this comparatively unknown 1969 festival were:   Johnny Winter, Canned Heat, Backwards Sam Firk, Bukka White, Carla and Rufus Thomas, Insect Trust, Fred McDowell & Johnny Woods, Nathan Beauregard, Sun Smith and the Beale Street Five, Elder Lonnie McIntorsch, Sleepy John Estes, Blues Band, Lum Guffin, The World Greatest Jazz Band, Albert King, The Bar-Kays with Toni Mason, Jo-Ann Kelley, Furry Lewis, Slim Harpo, Rev. Robert Wilkins, John Fahey, Southern Fife and Drum Corps, Booker T. and the MGs, Moloch, Casietta George, Sid Selvidge, Soldiers of the Cross, Robert Pete Williams, Rev. Ishmon Bracey, and Wild Child Butler.

Just as white teenagers had inadvertently discovered so-called race music in the early 50s by way of Elvis and other white artists covering black artists’ songs (albeit often “sanitized” to white standards), many white teenagers had wandered into the Delta blues.

WC Handy Memorial Concert

Father of the Blues

WC Handy is called the Father of the Blues because it was his style of the Blues that became the dominant one in America. It happened in Memphis, Tennessee. Specifically on Beale Street. He did all this in the first part of the 20th century.

As festivals became a way to present lots of music to lots of listeners,  it was natural that a blues-themed festival would happen. The first Memphis Country Blues Festival was in 1966 and in 1969 it’s fourth time was combined with the First WC Handy Memorial Concert.

WC Handy Memorial Concert

Woodstock not

Two names that would appear throughout the summer and particularly at the Woodstock Music and Art Fair were Canned Heat, featuring the vocals of Bob Bear Hite and the guitars of Alan Blind Owl Wilson and Harvey Mandel and Johnny Winter. Both were not just blues enthusiasts, but men who studied the history of the blues.

In other words, this festival featured those who had discovered the blues and those who had helped invent it. And while many of the name are far from household names, their contribution to the art is still important.

WC Handy Memorial Concert

 Speckled Bird not impressed

The Great Speckled Bird was an alternative newspaper based in Atlanta, Georgia. had some less than flattering things to say about the way the festival was managed, especially the time when National Educational Television was recording for a future show. “…the TV crew…had no understanding (much less love) of the music and certainly none for the medium of television. Emcee Rufus Thomas had to read insipidly ‘humorous’ announcement before each ‘act’ ; musicians had to stop…so that ‘sound levels’…could be met.” The article continued, “What could have been a groovy, informal recording of the sights and sounds of country blues and electric rock performances…all was lost in a third-rate stage show.”

The presence of uniformed police did not add to the vibe. The article also pointed out that the older musicians were given short shrift sets compared to younger bands who sets organizers allowed to go on much longer.

One young performer that the Bird felt was OK was John D Loudermilk. Many of us know his…

The purpose of the WC  Handy component was to raise scholarship money.

WC Handy Memorial Concert

Next 1969 festival: Cambridge Free Festival