Roy Acuff’s Greatest Hits, Vol. 2

I realized today that I haven’t engaged in this playthrough of my records. ‘My uncle took the message and he wrote it on the wall,’ yeah, sure. That doesn’t make me think of Chuck Berry trying to get back with his ex; I’m thinking of mix tapes of songs with operators, party lines, 10-cent calls from pay phones in booths—all gone. The songs have gone meta.

Roy Acuff pulled me back into the music. I didn’t expect it—he’s country about one step removed from the yodeling brakeman, but I reacted to the emotionally honest songs. He did Titanic as if it were ripped from the headlines, but it happened 40 years before he wrote the song—both World Wars occurred in the interim, nuclear weapons, the rise of communism; it wasn’t top of mind.

Streamlined Cannonball is a song about a fast train, and he played it like a dirge. Acuff wrote it, and I don’t rush to criticize an auteur, but Doc Watson’s version leaves it way up the track.

I should be embarrassed by how much I like Don’t Worry ‘Bout the Mule (Just Load the Wagon). It is a great break-up song (but my read is that he really doesn’t mean it). When I was producing copy for a living, the design manager would sometimes ask me if I could make the deadline if she assigned me another project. I always said, don’t worry ‘bout the mule, just load the wagon.

Odetta at the Gate of Horn

Tradition Records, 1957 (my rerelease is on Everest Records recently enough to include a ZIP code)

Here is an open-book quiz. Where was Odetta at the Gate of Horn recorded? A) At The Gate of Horn folk club in Chicago or B) at a recording studio in New York. Take your time; remember you can check the title of the record. If you’ve heard the record, you know it is a studio album which just happens to be named for a folk club. Marketing was strange in the ’50s.

I love Odetta’s voice. Some people might have wanted her to specialize in important songs, such as spirituals, gospel, and civil rights tunes; I love the way she did silly songs just as much, such as the children’s song about the fox raiding the hen house. She is bold enough to sing two Leadbelly tunes just like Leadbelly, and she doesn’t need to apologize. The liner notes and the label have them in the wrong order—there are many mistakes on liner notes if you look closely. The only time I gave notice on a job I sang bits from “Take This Hammer” for the two weeks. [By the end of my working days my employers gave me notice.] It’s a work song, I know that, but the manifest content of the lyrics is that the singer is getting out of prison (by dying).

Women were underrepresented in music during the vinyl years, and they are underrepresented in my record collection. I have a fair amount of Judy Collins and Grace Slick, Ella Fitzgerald and Lotte Lenya, but there isn’t much balance for the Rolling Stones, Grateful Dead, and Bob Seger. I’ll sneak in some Lydia Loveless, say, from streaming for balance.

How many songs use “vouchsafe” besides Green Sleeves? I don’t remember ever using it in conversation.

Happy Labor Day

Since I am happily retired, here are some relatively light-hearted songs about working for a living. I saw Son Seals do ‘Call My Job’ at Chicagofest in 1978 and was horrified. I realized there are people who had to call in sick to get a day off (I didn’t get paid, but I had all the time I wanted) and people who had to run a machine at work (not me, I painted apartments). Anyone who has to run a machine is entitled to sing the blues. As Goethe wrote: Just you wait, boy. Five years later I was sitting in an office in front of a computer, truly an infernal machine. Son Seals was a great singer, songwriter, and guitar player.

And a version of Peter Pan by the Fools: I don’t wanna get a job/I don’t wanna go to work. Also: I don’t wanna wear a tie/and a serious expression every time I get high. (This was 20 years before business casual and work from home.)

As I write when I send a birthday greeting: It isn’t the growing old that kills us, it’s the growing up. Let’s think about not working on this Labor Day.

It Was the Third of September

That day I’ll always remember, yes I will, ‘Cause that was the day my daddy died.

The Temptations got the best material from the Motown bosses. The word on the street in my neighborhood was that the Temps were supposed to attract kids who loved the Rolling Stones. I don’t know about how it was planned, but this rock and roll fan loved Cloud Nine and Ball of Confusion. When the Stones covered Just My Imagination and Ain’t Too Proud to Beg, the envy was clear.

Here’s the album version.

Blue Matter

Savoy Brown

Parrot (record label), 1969

I bought this record from my roommate when he decided to hit the open road. He bought it when it came out. This was before he had much taste in blues. It isn’t very good. I read in Wikipedia that one of the founding members left soon to start Foghat. I can tell. There are some tunes here that might have been melodic; the band just played them loud. A recurring problem for English blues bands was that when the singer wanted to be soulful, such as Muddy Waters and Elmore James (whose songs are on the record), he mostly sounded strained.

Cool album cover. Was Blue Matter a play on gray matter (that is, brains)? The monster on the cover looks like the creature from the Black Lagoon to me, but monsters tend to look alike. This was the first record I owned with the lyric “if the river were whiskey, and I were a diving duck/I’d swim to the bottom and drink myself back up.” I thought I was sophisticated.

The way the music business worked. The band wanted to tour in the U.S. They and the record company thought they should release an album before they toured. They rented some studio time but didn’t finish enough material for the record. The fastest way to get the new songs recorded was to play them at a concert. They set up an unpaid appearance. The lead singer got sick, but they were committed to that date, so another band member handled the vocals that night. None of that was what they planned.

Doctor Dunbar’s Prescription

The Aynsley Dunbar Retaliation
Blue Thumb, 1969 according to Wikipedia

British blues from around 1970 that is very good—a real rarity. One reviewer on Amazon said it sounds jazzy—I think that means the guys can play their instruments and stay in tune. I’m tempted to say they are businesslike—meant as a compliment, compared to shouters, muddy guitar players, and self-indulgent solos offered by other bands. It helps that they play mostly their own material, so they don’t mutilate classics. When they cover a classic, they do it well. They do a Little Walter tune, for example, and know better than to play any harmonica.

Aynsley Dunbar was John Mayall’s drummer for a while, then did some Retaliation albums, and then had a big career with Journey, the Mothers of Invention, and many more. He wrote one of Black Sabbath’s early hits. This phase of his career gets little notice on the internet.

I don’t know about the cover. It looks like spy photos. Or maybe an LSD trip? Is it what you’d see if you took Dr. Dunbar’s prescription? I don’t know, I suppose it looked arty. Something that cheered me: Some of the lyrics for these songs are available online, which wasn’t true five years ago.

This was the first record in alphabetical order in my collection for years, until I bought my first Roy Acuff record. One reason I didn’t integrate my wife’s records into my collection was to keep The Association from being first. An individual was alphabetized by last name, but this was the Aynsley Dunbar Retaliation, not Aynsley Dunbar, so it went under A. For performers who weren’t known by their real names, I used the pseudonym if it functioned as a real name. If you said, “Hey, Taj,” Taj Mahal would turn around, so he was filed under M. Call Richard Penniman “Hey, Little,” and you’d get blank stares, so he went under P. Muddy Waters, W. Big Bopper, R for Richardson. I decided Odetta went under O, but Donovan Leitch went under L. I love taxonomy.

“The Devil Drives” is a great title, based on one of my favorite lines from Marlowe. The singer gets advice from his mom, including “needs must that the Devil drives.” I have always thought this a delightful play on words in Doctor Faustus. The use of “that” instead of “who” or “whom” means we don’t know whether the Devil drives the person who needs must or in this case, the person drives the Devil. No one understood me in German class, either. The song also has the singer give his name—his mother called him Crozier. I’ve loved that since The Four Tops Live quoted Mom [“She said Levi, and that’s my name”].

First song suggesting underage sex: In “Call My Woman,” the singer says I’ve loved you since you were 12 years old.