FOREIGNERS in the whore HOUSE of the RISING SUN

Why do so many people identify with whores? They love to sing "House of the Rising Sun!"
Literally hundreds of females have wailed about workin' in a New Orleans bordello, as if they ingested enough semen to get flood relief from Fema.
Even worse, hundreds of MEN have likewise belted and brayed about being bothered, bewildered and buggered by anyone who wanted 'em to bend South while getting poked up North.
Folk song hunter Alan Lomax recorded Georgia Turner singing it in 1937, as "Risin' Sun Blues," and the bawl about balling kept on rolling, with some claiming credit for the lyrics, the music, or both. Dave Van Ronk perfected the right version...and as Suze Rotolo noted in her book about Bob, was mighty peeved when young Mr. Dylan decided to stick the song on his debut Columbia album. Dave couldn't sing the tune after that, 'cause he was accused of "stealing from Bob." Dave had the last laugh. When Eric Burdon copied Bob's, and had a hit with it, Dylan had to drop it, too!
Burdon and The Animals turned the song into a real rocker, with that famous opening guitar riff (or arpeggio, if you want to get technical) by Hilton Valentine, and the scorching organ of Alan Price...not to mention Burdon singing as if his organ was scorched, too. Many earlier versions credited whoever "adapted" it as the author, but when Alan Price ended up with the credit, rather than all the band members, there was much chagrin, especially when the tune became almost as big a perennial money maker as "Whiter Shade of Pale" or "Yesterday."
In placing "House of the Rising Sun" #91 on his list of the "1001 Greatest Singles Ever Made," ex-Rolling Stone scribe Dave Marsh, noted the gay problem with bleary-eyed Eric:
"Burdon...brattish spawn of Newcastle coal miners that he was...turned the lyric around, portraying the prostitute as a male and, thus, himself as a catamite."
Marsh, and most others, reject the musicologists who say that the song is only about a prison...and that the singer didn't lay for a living, just laid one person low.
But no, if you look it up, "catamite" doesn't refer to a prison inmate, or a little insect on a feline. "House of the Rising Sun" sounds more like a bordello than a prison and that's how most singers relate to it.
But that's not why you're here. You're not here to hear the White Man Burdon. No, this blog is too ill to offer famous English versions of the song. Instead, your download is...FOREIGN LANGUAGE versions.
Russian whores. Italian whores. German whores. Spanish whores. And more.
All of them bellow through herpes-riddled lips and have to stand up to sing because of nether-holes as prolapsed as a Slinky going down a stairway.
You get Johnny Hallyday singing in French and German, plus French singer Marie Laforet singing in Japanese, and...Boris Brown, Manfred Krug, Anatoly Savenkov, Bisonti, Alazan, Bruno Lomas, Sukachev, the appropriately named T. Hors, Vadim Kosogorov, Pataky Attila, Manfred Krug, Frida Boccara and much more..."La Casa Del Sol Naciente," "Es steht ein Haus in New orleans" "Dom Voskhodjashhego Solnca," "Le Penitencier" and more!
FOREIGN HOUSES OF THE RISING SUN

For Fans of Repetition - STARDUST x 19 plus...

If you're the type that never got up to push the needle along when it got stuck, or if you have a morbid curiosity about how different people can sing the same song...check around the blog and you'll find a lot of ridiculous posts featuring more than enough cover versions of a particular song. Like...

19 versions of STARDUST including the Dinahs Shore & Washington, Ben Webster, Cab Calloway, Brubeck, Krupa, Coleman Hawkins, Isham Jones, The Ink Spots, Louis Armstrong, Sammy Kaye and even satire (Jackie Vernon). There's country nasal and country swing (Willie and Leon), and since you probably didn't know she could sing, Elke Sommer. Also, a 1933 solo from the author, Hoagy Carmichael. STARDUST

Elsewhere (just type in a few key words in the top left corner) you'll find:
17 VERSIONS OF TOM DOOLEY, duly noted.

12 VERSIONS OF FAREWELL TO NOVA SCOTIA, for those who never know when to leave.

25 VERSIONS OF UNCHAINED MELODY including Shayne Ward, Dobby Dobson, Ann & Nancy Wilson (huh? they covered it??), Matt Monro, the late Boots Randolph, U2, Pitney, Orbison, and a host of others.

And no, that isn't a Photoshop job at the top of this entry, that's the damn nice Dahm Triplets, repetitive in their smiles, waving the red white and blue.

There's plenty of "live" links going back to the beginning...plus pithy paragraphs, cogent commentary, and peculiar pictures. So you are indubitably encouraged to peruse this jeremiad and explore all atrabilious amphigories.

It was 200 Years ago today: EDGAR A. POE

The greatest writer America ever produced, was born on January 19, 1809.
His 200th birthday will be marked by many new books and tie-ins. Look for "Poe's Children," collecting horror stores by Stephen King and other contemporary writers, and "On a Raven's Wing" with Mary Higgins Clark and others knocking out stories in Poe's style. There's also a new Poe stamp at your local post office, and this modest tribute here at the Ill Folks blog.
Edgar's poetry has been adapted to music and sung by everyone from Frankie Laine to Harry Belafonte, and his stories have been turned into opera and rock opera ("Fall of the House of Usher" especially), and even jazz pieces. Almost a rock star in his own time (poems at the time were as popular as songs), Poe often staged a one-man show, and the centerpiece was his "greatest hit," a recitation of "The Raven."
Unfortunately for Edgar, he was a wild and crazy guy, so bizarre he was buried twice (as you can see from this marker for his original resting place). He was always getting into incredibly vicious feuds every time he joined a newspaper -- not always getting along with co-workers and outraging dozens of writers (including the greats of his day) by scalding them with literary criticism.
While today he's known as a poet and horror writer, back then he was also known for being a controversial magazine editor writing notoriously opinionated reviews. He could rapturously praise a poetess he might've fancied, and venemously put down the latest work of Longfellow, sometimes adding an accusation of plagiarism. The occasional physical confrontation only added to his notoriety. His problems with alcoholism didn't help. Suffering a typical freelance writer's lifestyle, he was perpetually broke and tormented...knocking out hack non-fiction to get by (often making up facts and then declaring the result merely a "hoax"). His marriage to his 13 year-old cousin has intrigued amateur psychologists. After her tragic death, he went on to romances with a variety of women, including the strange Sarah Whitman, who liked to breathe ether from a soaked handkerchief. Poe had no idea how deeply some loved him and others hated him, and in the latter case, unfortunately left his literary legacy in the hands of evil Rev. Rufus Griswold, who set about blackening Poe's name after death. Hardly a friend at all, Griswold instantly posted a mocking obit (under an assumed name) to accentuate Poe's alcohol problems and prickly disposition.
Poe invented the mystery story, and the first detective hero in Auguste Dupin. While his horror stories might've been "pulp fiction," designed to make him some fairly easy money from lurid mags of the day, he put a literary stamp on them and turned them into enduring, fascinating classics, probing deep into the soul and psychology of mortal man. He probably felt his main gift was in the essay, and in poetry.
He was a complex, surprising man, and unlike his wan image, in his early days he was a hearty swimmer and enjoyed boxing, and despite the miseries of his life, he was also capable of wicked parody and black humor.
The last full biography of him, one that is at least equal to the pioneering tome by Arthur Quinn, is by Kenneth Silverman. It's simply titled "Edgar A. Poe." That's the byline Poe chose for his works. Orphaned at 3, he despised his adopted "father" John Allan, and it was only after his death that fussy schoolmarms began writing out "Edgar Allan Poe" to go with Ralph Waldo Emerson, James Fenimore Cooper and the rest of the triple-threat names. So "Edgar A. Poe" it is. Or, you can call him "Eddy," as his wife and mother-in-law did.
Your download is a baker's dozen of musical oddities in all styles from emo and goth to psych and folk. The musical setting for "The Bells" is the musical adapation created by the Ill Folks favorite, Phil Ochs....here, performed by Jim & Jean. The Poe load opens with a song about Eddy as performed by Lou Reed, closes with Vincent Price reading "Dreamland" and in between you'll find:
The Lake (Simon Dreams in Violet), Alone (Neither Neither World), A Dream Within a Dram (Soul Parish), A Dream within a Dream (Glass Prism), Masque of the Red Death (Ivy League Trio), The Raven (Fettdog), Ulalume (narrative backed by the Buddy Morrow Orchestra), System of Dr. Tarr and Professor Fether (Alan Parsons Project), Tell Tale Heart (Hydra), Cask of Amontillado and the Premature Brural (Michael Romeo), Annabel Lee (Society Islands), The Bells (Jim and Jean).

AK...Update October 2010...this link apparently died. Hopefully a new version will be up and running by Eddy's birthday, January 19th.
Re-Up: Poe, Poe, Pitiful He

I HEAR DEAD PEOPLE : THE C&W and POP Stars Dead in 2008

"Dead...didn't even know they were ill..."
It was ladies first on the illfolks blog, so having presented the musical death knells to departed singers and songwriters last week, it's time to honor the men who are now, to quote that Jody Reynolds novelty classic, sleeping the "Endless Sleep."
As this is a music blog, you can look elsewhere for tributes to all the great statesmen, politician, actors, writers and others who shuffled off their mortal coils. The roll call includes the following who contributed a lot to the world, or to the world of illfolks : Paul Newman, George Carlin, Sir Edmund Hillary, Sir Arthur C. Clarke, Forry Ackerman, Bill Meléndez, Harvey Korman, Harvey Karman, Sydney Pollack, Dick Martin, Will Elder, Ted Key, William F. Buckley, Jr., Barry Morse, Werner "Frick" Groebli, John Hewer, David Groh, Roy Scheider, Paul Scofield, Claiborne Pell, Charlton Heston, Clive Barnes, Irving Brecher, Reg Varney, Herb Score, Joe Hyams, Preacher Roe, Gerard Damiano, Rudy Ray Moore, Jack Narz, Tom Tresh, Lloyd Thaxton and grouchy sitcom character actors Henry Beckman and Allan Melvin.
The following dead sports figures have fun names too good not to repeat:
Baseball's Herb Hash (97) and Bob Purkey (78), Football's Buzz Nutter (77) and Coy Bacon (66) and wrestling's Ron Slinker (62).
This segment salutes some pop and country stars who passed on. But aside from those you can sample in the download, let's take a paragraph to note some of the other casualties of the past year.
On December 27th, Delaney Bramlett died. He wrote "Let it Rain," and co-wrote "Superstar" with Leon Russell, most recently covered by Sonic Youth. His tune "Never Ending Song of Love" was a regular on the country charts, covered by dozens and dozens of C&W performers. Also unable to make it into 2009, was Derek Wadsworth (69) who wrote the spectacular theme song for "Space: 1999," and Neal Hefti (85) who wrote the theme for "Batman" and "the Odd Couple" and Earle Hagen (88) who wrote the themes for "The Andy Griffith Show" and "I Spy" among others. Using the search feature, top left, you can find the illfolks tributes previously written for both of those men.
Also departed: Danny Dill (83), who co-wrote "Long Black Veil" and had a hand in many other C&W standards, Pink Floyd keyboard player Richard Wright (65), Mike Smith (64) who was a major member of The Dave Clark Five, Buddy Miles (60) both a drummer and a singer (that's his voice leading the California Raisins), pianist Louis Teicher (83) who issued dozens of albums with his piano partner Ferrante, Ralph Young (90) the American half of the Sandler and Young nightclub act, and upstate New York folkie favorite Artie Traum (65),
Perhaps the saddest passing was of Tarka Cordell. Tarka (40) was the son of veteran rock producer Denny Cordell. He issued one album on a small indie label two years ago, and samples of it are still on his myspace page. He was a suicide. And calling it a day, via natural causes, was Chuck Day (65) a Chicago guitarist who recorded as Bing Day and Ford Hopkins, but would anonymously turn in one of the more iconic riffs in rock history when he ad-libbed the guitar introduction to "Secret Agent Man." Aside from working with Johnny Rivers, he also played on albums for The Mamas and the Papas and later fronted his own band for gigs in California over the past decade.
In your download:
Jimmy Carl Black (Lonesome Cowboy Burt), Jody Reynolds (Endless Sleep), Willoughby Goddard (I Shall Scream...from the original Broadway production of Oliver), Dennis Yost of Classics IV (Spooky, Traces), Rod Allen leader of The Fortunes (You've Got Your Troubles I've Got Mine), Eddy Arnold (Mommy Please Stay Home With Me), Jerry Wallace (You're Singing Our Love Song), Charlie Walker (Honky Tonk Woman, Wild as a Wildcat), Jerry Reed (Smell the Flowers, When You're Hot You're Hot), Davy Graham (Goin' Down Slow, Leavin' Blues), Henri Salvador (La Muralle de Chine), Erik Darling, leader of the Rooftop Singers (Walk Right In), John Stewart (Lost Her in the Sun), Robert Hazard (Blood on My Hands).
I Hear Dead People This link won't stay dead! Re-upped in 2011 after Rapidshare dropped it.

I HEAR DEAD PEOPLE : The R&B, Soul, Ska & Rock Stars, Dead in 2008

Time and storage space constraints made it difficult to give a musical sample for every major musician who died in 2008. Omissions reflect the Illfolks taste (or lack of it), since much of what's on the blog simply comes from grabbing what's handy in the archives and shelves of Ill Central.
So without further adieu, at least a mention of some guys who aren't represented in the download below:
The last major musician to evade the Grim Reaper was Freddie Hubbard (70), the great jazz trumpet legend, who died on December 29th. A day earlier, December 28th, Vincent Ford departed. Just how much of a music legend he is, depends on whether he actually wrote Bob Marley's hit "No Woman No Cry." Most say that Ford, who ran a soup kitchen in Jamaica, was generously handed the songwriting credit by Marley so that royalties would go directly to Ford's charity enterprise.
Ray Ellis (85) was a great musician and orchestra leader, Norman Whitfield (68), the Motown songwriter behind "I Heard It Through the Grapevine." Few were as great on sax as Johnny Griffin (80), and Ira Tucker (83) was the lead singer for The Dixie Hummingbirds.
Cliff Nobles (64) may have the oddest credit in Top 10 history: a hit record without being on it. Nobles was a singer, and he thought he had a hit with "Love is All Right." On the flip side was an instrumental arrangement titled "The Horse." Radio stations flipped over the B-side, and it reached #2 in the charts...with the credit going to the man (who played no instrument, only sang) and not his band.
A special mention for a non-singer who is represented below. Jerry Wexler was one of the great music producers, and his range was phenomenal. He sensed what Bob Dylan wanted for "Slow Train Coming" and booked studio time and musicians in Muscle Shoals, the flavor just right for Bob's gospel inspiration. For Big Joe Turner's "Shake Rattle and Roll" Wexler actually sang on the chorus, along with another Atlantic Records legend, Ahmet Ertegun. He brought Dusty Springfield to a comfortable urban studio in New York so she could complete her historic "Memphis" sessions, singing to all the music laid down in Tennessee. And while he didn't have to do much except let Ray Charles sing, and The Drifters drift, quite often Wexler stepped in to coach an artist...notably directing pauses in Wilson Pickett's delivery of "In the Midnight Hour." And representing his diverse work, the download features Professor Longhair's "Tipitina" (Wexler inspired that song by asking his singer to lay down a tune similar to "Tee Nah Nah") and the Dire Straits' "Lady Writer," another example of Wexler's choice of location (the Bahamas) helping him get what he wanted from his artists...in this case, a richer, bluesier sound. Wexler also produced Willie Nelson, James Booker, Aretha Franklin, Etta James and many, many more.
In your download:
Bo Diddley (Run Diddley Daddy, Mumblin' Guitar), Nappy Brown (Something Gonna Jump Out the Bushes), Levi Stubbs of the Four Tops ("I Can't Help Myself" sung in Italian, plus In These Changing Times), Isaac Hayes (Never Can Say Goodbye, Out of the Ghetto), Byron Lee (Soul Ska), Alton Ellis (All My Tears Come Rolling, If I Could Rule This World), Bill Coday (60 Minute Teaser), Jeff Healey (While My Guitar Gently Weeps, Someday, Someway), and for producer Jerry Wexler: Professor Longhair's Tipitina and Dire Straits' Lady Writer.
Hear Dead People R&B/Soul/Rock 2008 Update 2011: it died on Rapidshare, resurrected via Box.

I HEAR DEAD PEOPLE (the women of 2008) Suzan Tamim

Along with the mega-deathload of ordinary missing links, many celebrities died in 2008, and has become a custom, the illfolks blog recites that corny line, "dead...didn't even know they were ill..."
Without any further adieu, it's time to start saying goodbye.
This segment is on fallen females.
2008 saw the passing of two women who graced album covers as well as girlie mags. Model DIANE WEBBER, 76, seen in the top two album covers, was born Diane Marguerite Empey. She used the name "Marguerite Empey" when she was Playmate of the Month (twice: in May 1955 and February 1956). BETTIE PAGE, 85, was a fetish film queen in the 8mm era, an early Playboy centerfold, and with her unique hairstyle, frisky smile and perfect figure, became a pin-up icon.
The number of women who were treats for the ears, and who passed on in 2008, are listed below, along with the representative song or songs chosen for the six-foot-download. A few deserve special mention, as you might not be familiar with them. Katie Reider was only 30 when a cerebral hemorrhage ended two years of massive suffering...some of it chronicled elsewhere on this blog. Likewise, Suzan Tamim, a Lebanese singer and actress, was only 30 when she met her demise...brutally murdered in typical Arab fashion by some psycho thug hired by her ex-husband.
The last tune is not sung by a woman, but by James Darren. It's to represent Gloria Shayne Baker. A songwriter, her biggest solo success (credited as Gloria Shayne) was "Goodbye Cruel World." A co-write with her first husband Noel Regney gave the world a Christmas classic, "Do You Hear What I Hear?" She co-wrote with many others, and was part of the trio responsible for "The Men In My Little Girl's Life," a sentimental hit for Mike Douglas. Gloria generally wrote the lyrics for songs she co-wrote, but in the case of "Do You Hear What I Hear," her husband (a member of the French underground while drafted into the German army) wrote the lyrics and she wrote the music.
The voices you're going to hear...immortal.
Odetta (77, Dec. 2) Dont Think Twice It's All Right, Nobody Knows You When You're Down and Out
Monna Bell (70, April 22) Aun Te Sigu Amando and Yo Que No Vivo Sin Ti ("You Don't Have To Say You Love Me" sung in Spanish by this Chilean superstar)
Miriam Makeba (76, Nov 10) Pata Pata
Mae Mercer (76, Oct. 29) Sweet Little Angel
Christie Allen (53, Aug 12) He's My Number One
Eartha Kitt, (81, Dec 25) I Want to Be Bad
Edie Adams (81, Oct 15) Namely You (duet with Peter Palmer)
Katie Reider (30, July 14) My Love For You
Jo Stafford (90, July 16) No Other Love and Haunted Heart
Suzan Tamim (30, July 28) Wainoh Habibbbi and Saken Albi
Yma Sumac (86, Nov 1) El Condor Pasa
Gloria Shayne (84, March 6) Goodbye Cruel World performed by James Darren

I HEAR DEAD WOMEN! 16 songs
and...
I never got around to doing a post on Suzan Tamim, and her bizarre death, but by way of tribute here's her obscure 2001 album SAKEN ALIBI:
SUZAN TAMIM full album

BOBBY DARIN: OUT OF THE VAULTS (Rarities & Demos)

Snap, snap...as cool as Bobby Darin was, some of his tracks just didn't end up etched in vinyl.
Here's a set of 25 songs that stayed in the Capitol vaults in the 60's, an era that shows him slippin' and slidin' over Al Jolson (Alabamy Bound) Anthony Newley (What Kind Of Fool Am I) Andy Williams (Moon River) and the rest of them older, squarer cats.
Of special interest, an attempted Mack the Knife sequel called Gyp the Cat!
At the time, some folks thought this guy was pretty ill: too young to be Middle of the Road, but acting too old to really appeal to the teens. But hey, the answer was that this guy didn't need to be Frank or Dino, nor Sedaka or Anka. He was the best at being Bobby Darin, and now he's legend.
The outtake tracks include: I Got Rhythm, Alabamy Bound, I Wonder Who's Kissing Her Know, When My Baby Smiles at Me, Beautiful Dreamer, When You Were Sweet Sixteen, I Ain't Got Nobody, You're Nobody till Somebody Loves You, This Nearly Was Mine, The Sweetest Sounds, Standing on the Corner, Whispering, Just Bummin' Around, On the Street Where You Live, Red Roses for a Blue Lady, If I Ruled the World, Tall Hope and more.
25 Outtakes from Bobby D.

Green Green Grass of Home - over 40 Versions

Yes, if you download both parts, you will get OVER FORTY versions of "Green Green Grass of Home."

Maybe that's almost like getting a death sentence.

But...this song has transcended its sentimentality and lousy ending. It's a true classic. It's the masterpiece of veteran songwriter Curly Putman (who wrote or co-wrote over 400 tunes, and had a co-writing hand in some of the most achy-breaky songs of all time, including "D.I.V.O.R.C.E." and "He Stopped Loving Her Today" and "Wino the Clown").

Cringeworthy? What's more cringeworthy than a burly country star talking about getting off a train "and there to greet me is my mama and my papa." And yet everybody from gritty Merle Haggard to burly Burl Ives to spooky Jack Palance has sung that line.
What's more of a mediocre cliche than having a girlfriend named Mary who's got "hair of gold and lips like cherries?" If she really did, God would she be repulsive. Besides, "Mary" and "Cherries" is a lousy rhyme. (So is "padre" and "daybreak," but at least it's interesting.)
And finally, let's be honest, the worst cop-out in any short story is "it was all a dream."

Yet "Green Green Grass of Home" has served as both a weepy example of C&W drama, and even a protest against capital punishment (the Joan Baez version most notably, here represented by a rare live TV version). The song was a crossover hit for Tom Jones, was overbaked into opera by Katherine Jenkins, has been sung in all kinds of improbable languages, and even parodied by Ben Colder (Sheb Wooley's drunken alter-ego).

Now why, baby, why, would you want to wade through FORTY versions?
In part one, you might want to check on the way Pitney, Laine, Rogers, Twitty, Brown, Jones and other C&W veterans choose to either sing "I was only dreaming" or, for dramatic effect, speak those lines. You might want to note which ones use a backing choir, which ones add squeamy steel guitar, and which ones either string up the tempo or hang it gently. Then there are the ad-libs..."I was only dreaming" or "I must have been dreaming."
There's also a question as to where the prisoner is confined. It's usually "four gray walls" but for Joan Baez, "cold clay walls" and for Johnny Cash, "cold gray walls." It's just plain "gray walls" for Kenny Rogers and "four walls" (no color) for Jack Palance.
Part two concentrates on the more disturbing, offbeat and ill versions of the song. There are lots of women here, from Bonnie Guitar, who shifts the song into the third person, to Margareta Pasiaru, who sings it as "Ce dor imi e sa flu acasa lar." There are Italian cover versions and Spanish cover versions (L' Erba Verde Di Casa Mia and Os Verdes Campos da Minha Terra) as well as Jan Malsjo's "En sång en gång för länge sen."

Are you only dreaming? No, this is truly your chance to download OVER FORTY versions of this classic song, and turn yourself Green, Green, Green, Green, Green, Green....
GREEN GREEN GRASS OF HOME Predominantly normal versions
GREEN GREEN GRASS OF HOME Predominantly unusual and foreign versions

A GARLAND TO BEVERLY - Not of This Earth

Beverly Garland, star of "Not Of This Earth," has swooped the planet. Her passing didn't quite get the attention it deserved.
Some stars had that one defining role that instantly got some attention. The recent death of an obscure actor named Paul Benedict got a lot of coverage because he had played a British twit on "The Jeffersons" for several seasons. So the headline was "Jeffersons Star dies." Veteran Hollywood stars like Yvonne de Carlo and Carolyn Jones were likewise identified as "Lily Munster" and "Morticia Addams," because their dozens and dozens of other film roles just marked them as good professional actresses.
And so it was, that the news of Beverly Garland's death only made it to the back obituary page in most newspapers, if at all. It wasn't headline news, but that doesn't diminish her achievements over fifty years and a great amount of film and TV appearances.
Her TV career took off in 1955 with an Emmy-nominated performance in "Medic," and she followed it with several seasons of "Decoy," the first TV show that starred a woman in an action role (she played an undercover cop).
She also had a continuing role as the perfect sitcom wife opposite Fred MacMurray on "My Three Sons," and later took "mom" roles; Stephanie Zimbalist's mother in "Remington Steele," Kate Jackson's in "Scarecrow and Mrs. King" and Teri Hatcher's in "Lois & Clark."
As for the movies, she's best remembered as a "Scream Queen," but one who more often took up the fight, rather than shrank in fright. She aimed her rifle at the creature terrorizing the planet in "It Conquered the World," and went into the swamp after 'The Alligator People,' and she was sexy as the tough nurse who was feeding blood to the stoic alien who was "Not Of This Earth."
The former Beverly Fessenden married and divorced actor Richard Garland, but found an enduring marriage in 1960 with the unlikely-named Fillmore Crank. Crank was a real estate developer, and the couple built a hotel (named after Beverly) in 1972, and while she continued her acting career, she was secure with her hotel business, her marriage, and her two children. The hotel would often hold memorabilia conventions and for a little fun and profit, she'd join in and set up a table to autograph a Twilight Zone card or an 8x10.
She had a great sense of humor, warm recollections of her co-workers, enjoyed those crazy B-movies she made, and knew the business inside and out...which means, as you can see from her varied roles, that she could be tender or tough...and remain beloved and respected.
A suite from "Not Of This Earth," in full stereo:
Main Title - The Eyes Have It - Rabid Blood - End Title

Ian Dury's obscure 4000 WEEKS HOLIDAY

Most of Ian Dury's albums are pretty easy to find...except "4000 Weeks Holiday." This is very frustrating for the many who have collected everything possible (from bootlegs to Baxter Dury and back) and fondly remember seeing Ian and his Blockheads perform live.
Suffer no more...you can quench your curiosity with the download below. And here, from page 135 of his book on Mr. Dury (half bio, half song lyrics) is author Jim Drury's quick take on this forgotten album:
"4000 Weeks Holiday, a reference to the approximate life span of the average human, was released in November 1983, months behind schedule. The reason for the delay was Ian's initial refusal to remove the song "Fuck Off Noddy," despite the threat of legal action from Enid Blyton's estate...Having removed the offending track, the album reached a paltry number 54 in the charts, leading to a disenchanted Polydor axing Ian from the label."
While the average fan of Ian Dury might not consider "Lord Upminster" (1981) or "Apples" (1989) masterpieces either, this inbetweenie, "4000 Weeks Holiday," has some very worthy tracks, with typical impudent Dury recitations and cheekiness, and the occasional bit of underhanded smut ("Really Glad You Came"). "The Man With No Face" is another bit of coal with a glint of diamond in it. Other cuts include "Take Me to the Cleaners" "Percy the Poet" "Peter the Painter" "Tell Your Daddy" and "Very Personal."
The censored track "Fuck Off Noddy" can be found with amusing visuals, via YouTube.
For various reasons, Ian's hit songwriting partner Chas Jankel couldn't or wouldn't work on the songs and his band The Blockheads either couldn't, or wouldn't participate in the recording. Ian co-wrote most of the tracks with old Kilburn mates Russell Hardy and Rod Melvin, so that scratches the itch for those who fondly remember their Kilburn and the High Roads songs, and always wondered what they could do if given another chance.
As bloggers love to say, if you like it, buy it...but considering your choice is either a scratchy original UK vinyl pressing, or a very expensive Japanese import...you might be forgiven if you feel that this mp3 version suffices.
The enduring Dury's most obscure album via Rapidshare
Durex Dury's 4000 via Box

Run for Cover versions: BOLL WEEVIL x 7

For generations, folkies & CW singers have sung about "The Boll Weevil," and the song can bug you. It can be a lesson in accepting, with humor, life's misfortunes, or it could be a sly grumble about immigration, or...literally a song about an insect. (And yep, if you click the picture, it gets bigger, and you can really see what a boll weevil looks like when it's lookin' for a home.)
In most versions of the folk tune, a farmer finds a talking boll weevil has moved in, and there ain't much he can do about it. He tosses the bug into a cake of ice, and the bug replies, "it's mighty cool and nice." The song ends with the insect chewing up a path of cotton on the man's farm.
That's The Weavers version, though. Listen to how rockabilly Eddie Cochran adapts it using a racist opening line: "The Boll Weevil am a little black bug, came from Mexico they say. Came all the way to Texas just lookin' for a place to stay."
Eddie's anecdotes end with the boll weevil heated up and still taunting the farmer. As for the "red hot sand...it's mighty hot but I'll take it like a man." And that's the end of the song. No way to get rid of the boll weevil.
Tex Ritter's C&W version also mentions "the boll weevil am a little black bug from Mexico..." and (you know how they procreate) the "whole family" is now causing a ruckus. Ritter's bug is tossed in the "red hot fire," but the bug says "Yassah, it'll be my home." Ritter's versions ends with the weevil destroying half the farmer's cotton.
The song originated with the black folk-blues singer Leadbelly, and no, his shout does not mention blacks or Mexico. It simply mentions how the insect and his whole family came "lookin' for a home" and he can adapt to ice and sand.
For those who simply want to hear a funny folk song, The Weavers, with droll Lee Hays muttering the lines, is the choice...the beast is "humanized" by being able to speak and his destructiveways lightly written off as just something that can't be cured and can only be endured. The clever weevil even wants to make a deal with a lightning bug so he can create havoc after nightfall! Brook Benton, a black pop singer popular in the 50's, does a version marred by an irritating clinky-piano, but his lyrics do not mention the color of the boll weevil, and "where they come from, nobody really knows." In Benton's version, the farmer asks "Why'd you pick my farm. The boll weevil just laughed at the farmer and said we ain't gonna do ya much farm...we're just lookin' for a home....gonna take me a home...Farmer I'd like to wish you well. And the farmer said to the boll weevil, yeah, and I wish you was in — lookin' for a home."
There are a few other songs about the boll weevil, but these all have the same melody and pretty much the same lyrics. If someone adapted the song today...who knows what that boll weevil would be getting into...
Eddie, Tex, Brook and four more, singin' about BOLL WEEV-ILLS!

DRILL YE TARRIERS & PAT WORKS ON THE RAILWAY

"If God had meant us to fly," Michael Flanders once remarked, "he would never have given us the railways."
In America, there was romance and excitement as the nation became linked via thousand of miles of track. It wasn't quite so exciting or romantic for those who were working on the railroad, all the live-long day.
To keep up their spirits, the workers sang, and often about the ironies and miseries of their lives. "For it's work all day for the sugar in your tay," was the Irish chorus on "Drill Ye Tarriers Drill." Another popular tune was "Pat Works on the Railway," which includes a typical Irish nonsense-word chorus, "Fill-a-me ory-ory-ay."
The lyrics are simple, easy to remember rhymes that could go for nine stanzas. "In Eighteen hundred and forty one, I put my cordoroy britches on. Put my cordoroy britches on, to work upon the railway..." Each year is just as bland.
"Drill Ye Tarriers" is more amusing, as the grousing lead singer takes a shot at his boss, the boss's wife, her cooking, and the cheap ways of the railroad. Hear for yourself the vivid picture of a fellow blown skyward, and his punishment.
The Weavers covered both songs, and they are joined by two extra Tarrier versions (Chad Mitchell and Cisco Houston) and two other "Pat Works on the Railway" attempts, one from The Cottars, and an oddity from Mechanicy Shanty, a European group of wild and crazy guys who sing with Russian-Polish accents and have their own nonsense syllables to replace "Fill-a-me ory-ory-ay," which sounds like: "Rilla-he-rollin-rollin-way."
The whole point of nonsense refrains was to create something catchy even illiterates or those who don't know the language can easily remember and sing. These days, it could be the entire song. But we'll save "Who Let the Dogs Out" for another day...
Various Versions of "Drill Ye Tarriers Drill" and "Pat Works On the Railway"

Living Voices: THE EVE OF DESTRUCTION

And now, gentle people, a gently-performed song about the end of civilization....not that it was ever so civilized. Religious people have always devoutly gone out to murder other people, simply for not sharing the same view of an imaginary friend. It's just that these heinous incidents are coming with a lot more frequency.
The two people in the photo were among the over 150 destroyed by religious terrorists two days ago.
It was a familiar message; Muslim maniacs or Islam assholes killing complete strangers, by way of declaring God is Great. All around the world, from London and Spain to India and America...these Middle Eastern monkeys are emigrating just to blow things up and gun people down.
The legendary Brigitte Bardot has actually been fined for speaking her mind on the subject of immigration. Her countrymen don't know the meaning of free speech, nor the threat she exposed five years ago in her book "A Scream in the Silence." Of the “Islamicization of France”, she declared: "Over the last twenty years, we have given in to a subterranean, dangerous, and uncontrolled infiltration, which not only resists adjusting to our laws and customs but which will, as the years pass, attempt to impose its own."
Rabbi Gavriel Noach Holtzberg and his wife, Rivka, not yet 30, came to Mumbai to be charitable and decent. They presided over Nariman House, a joyous, open, honest place where anyone was welcome to share a meal, pray or rest. They went to a foreign land to be part of a kindly outreach program. They came up against Islam-Muslim fanatics who had an outrage program...the slaughter of defenseless people. The terrorists found it very easy to storm into the rabbi's building...and neighboring hotels that housed unarmed tourists and business people.
In America in the mid-60's, a call for change was made non-violently by Dr. Martin Luther King, Jr. and on the radio, by such men of Jewish heritage as Bob Dylan and Phil Ochs. They were joined by Christians old (Pete Seeger) and new, including P.F. Sloan, who wrote "Eve of Destruction," a hit for Barry McGuire and covered by Anita Kerr's "Living Voices."
There's something unsettling about a middle-of-the-road choir handling "Eve of Destruction," but in this world gone wrong, their rendition can be interpreted in many ways. Were they harmonizing over a melody and ignoring the words? Or were these lambs all too certain that there was nothing to do but sing...and await the slaughter?
EVE OF DESTRUCTION

MORTON DOWNEY JR: NO SOLUTION TO POLLUTION

From 1987 to 1989, Morton Downey Jr. thrived as the wart-faced descendant of abrasive talk show pioneer Joe Pyne, cigarette smoke his blowhard trademark. He'd paid his dues with local talk shows on radio and TV. When he left KFBK-AM, a fellow named Rush Limbaugh replaced him.
As Downey's fame soared, David Letterman, noting Pyne's brief flash of fame, said "We see this every 10 or 12 years...I don't quite understand why everybody's falling over backwards over the guy." Soon enough, people were bored with the cries of "Zip it" and the artificial confrontations. In these pre-Springer days, there weren't enough morons to keep Mort on the air, and the indie stations running his syndicated show suffered backlash from sponsors.
In 1989, Downey knew he was flaming out, and made a desperate attempt to show he was still relevant. He emerged from a San Francisco International Airport toilet with a swastika strangely marked backwards on his face. He claimed he'd been attacked by Neo-Nazis, but it was obvious that he was lying...and only someone using a mirror could've made a backwards swastika.
Mort's show sank, as did his 1990 "Morton Downey Jr. Sings" album. A somewhat nicer Downey was on the cover, befitting a man who had self-consciously had his warts removed...in an attempt to give his critics a little less of a visual target. Always known as a "loudmouth," Morton's choice of singing style will surprise you. Showing a somewhat weak country tenor, and here, abetted by a band member to form a Dr. Hook-ish duet, Downey offers a down, quietly pessimistic view of the future. The guy was actually a singer before he grabbed fame as a shock-talk host. In the early 80's he was Sean Morton Downey, and his 1981 country single, "Green-Eyed Girl," grazed the outer reaches of the Country Top 100 chart.
Downey bounced around various local TV and radio stations, and had a lung removed during cancer surgery in 1996. He died in 2001.
But back in 1990 he was convinced the planet was dying...
"There ain't no solution to pollution anymore. We won a couple' battles but we're losing the war. We're dumpin' in our oceans, we run sewers in our lakes. We build mountains made of garbage and we bury toxic waste....take a look around you, man is snuffing out his life."
NO SOLUTION TO POLLUTION

It Kinda Makes Ya Wonder Don't It

Most any song can inspire drivel. Some songs lead a writer to do a "memory piece," describing remembered (but best forgotten) anecdotes from a nostalgic (if boring to everyone else) past. Sometimes pontificating about a lyric or giving a bio of its singer is just showin' off. So why bother? It kinda makes ya wonder, don't it?
Today's entries are all short, 'cause most times, a novelty song squeaks for itself. Now, the existential question posed by Jerry Van Dyke...nah, there could be an analysis here, a memory piece about watching "My Mother the Car" or "Coach" or a bio of his life and times but...nope. Although...it kinda makes ya wonder...
"It Kinda Makes Ya Wonder Don't It"

Ill-Ustrated Songs #17 "DIRTY MAGGIE MAY" Vipers Skiffle Group Pre-Beatles

"Dirty Maggie May...she'll never walk down Lime Street anymore..." What happened to the rest of "Maggie May" on The Beatles' "Let it Be" album? Why didn't they complete it? Maybe Lennon figured everybody knew the song so well he didn't need to go on. John and his friends knew The Vipers Skiffle Group version by heart. Download it and you will, too.
Liverpool's DIRTY MAGGIE MAY

Margie Day - Take Out Your False Teeth, Daddy!

"Take out your false teeth daddy, your mommy wants to scratch your gums! Well you're gonna feel good after I've rubbed them some. You're always complainin' about your gums. Take 'em out baby, let's have some fun!"
Margie Day, 1954.
Take Out Your False Teeth - MARGIE DAY

RUN FOR COVERS: DELILAH x 7

"She stood there laughing..." Exactly 40 years ago.
Longer, if you consider the movie version, not the Tom Jones song.
That's cold, cruel Hedy Lamarr in both photos. She played Delilah in the movie "Samson and Delilah." It's one of the few things anyone remembers about her. She also was one of the first famous actresses to do a nude scene, and she successfully sued Mel Brooks for corrupting her name into Hedley Lamarr for "Blazing Saddles" (figuring a tribute pun wasn't the same thing as...getting paid.) She also uttered a memorable observation; she said that it was easy for a woman to look sexy: "all you have to do is stand still and look stupid."

But that's not why you're here. You're here for SEVEN versions of DELILAH.
The song's about a cheatin' shady lady whose sillhouette of herself and another man caused Tom Jones to go out of his mind in 1968. "My my my Delilah! Why why why Delilah!"
Tom went all "Son of Sam" on Delilah, defying the odds that a murder ballad, in oom-pa-pa waltz time, could become a worldwide hit.
Hit-man Tom is such a powerful, unique singer, that when he bellows a tune...almost nobody dares to out-shout him.
Some of his songs are so STOOPID, they are his alone...as nobody in his right mind would cover "It's Not Unusual." As for "What's New Pussycat, Whoaaahhhh" nobody touched it except that Welshman filled with too much fermented grape juice.
No MOR-singing MOR-on could equal Tom, but some genre-singers gave "Delilah" a try. And in your download, you get the Italian version, "La Nostra Favola," via the rather light tenor Jimmy Fontana. You get another operatic version as well, plus a country take by the forgotten (well, except to Red Neckerson) Theron Gooslin. Don't you think he's psycho, mama? Just listen.
You'd expect a heavy metal version to be good, especially if it has lesbian overtones (lead singer female), or that maybe a crazy reggae artist would do a killer job but when you listen to those versions, you might not be impressed. Actually the most entertaining version beyond Tom's bathospheric bawl, is probably the live take by that overage delinquent Alex Harvey. The late Scotsman was always good at portraying slightly retarded hoodlums, and is a most believable murderer on one of the most ridiculous pop songs of all time.
With its overdone orchestrations, Tijuana brass-section, shifts from waltz-time to bolero, and fast (literal) cut from corn (didn't we hear about "silhouettes on the shade" just a few years earlier) to operatic violence, "Delilah" is a classic. And yes, there are a few other cover versions out there, but..."forgive me Delilah, I just couldn't take any more."

7 Versions of DELILAH

Amy Camus Didn't Die. Yma Sumac did.

Yma Sumac (September 13, 1922-November 1, 2008) was sort of Charo crossed with Margaret Dumont and Marni Nixon. Like Nixon, she truly did have a remarkable voice, but like Charo and Dumont, at times there was a dash of self-parody or self-delusion in there, but like any pro, you don't argue with what you're being paid to do.
She was born Zoila Augusta Emperatriz Chavarri del Castillo, and sang as Imma Sumack (the name loosely translated as "How Beautiful") in her native Peru. She recorded her first tracks in Peru in 1943, and came to America three years later. America was friendly to all sorts of ethnic folk acts, rhumba bands, guys banging a drum and shouting "Babalu" or women wearing fruit on their heads and flirting with Groucho Marx. Our Peruvian princess, with husband and kid, was more than willing to play the game, and changed her name to Yma Sumac. (Which led some wiseguys to reverse it, and claim she was phony Amy Camus from Brooklyn!). She signed with Capitol in 1950 and melded South American folk songs to the soundtrack-music stylings that made up a lot of that era's middle-of-the-road easy listening albums.
She found herself part of a new wave of ethnic-soundtrack stuff, which would include Les Baxter's instrumentals, way too many Hawaiian and Tiki albums, and the hit "Quiet Village" (with jungle sound effects) from Martin Denny. Just as Carmen Miranda knew how to wear bananas, Yma knew how to milk her cash-goat...turning from plain folk singer to a specialist in ultra-strange exotica. She appeared in two films, "Secret of the Incas" (1954) and "Omar Khayyam" (1957) but when jungle novelty wore off, her albums sadly found their way to the cut-out bins along with Baxter and Denny.
Yma would've easily qualified as a forgotten illfolks oddity except the same gays that found Carmen Miranda, found Yma, and they turned her into a gay cult icon. Which was fine with Yma, as long as it meant more money, concerts, and a campy comeback album called "Miracles." Another decade passed, and Sumac was further elevated by vinyl geeks. These were nerds, backpacks strapped to their thrift shop shirts, mistaking bad plaid as retro fashion, and their uncle's forgotten failed hipster albums as the ultimate in cool. As girls rarely go into record stores and don't think backpacks are a fashion accessory, Yma's new-found devotees soothed their lonely, sexless hours by staring at her formidable cover art and convincing themselves that liking her 4 octave range and actually listening to this stuff more than once every Halloween, marked them as...kewl. These guys even had their own terms ("outsider" music or "lounge") so they could grunt to themselves, "I'm not like everybody else," small solace for constant masturbation and record store haunting.
Yma, like Ed Wood Jr., deserves a bit better than to be a cult item for assholes. But by how much? A three-song tribute gives you an idea of whether you want to buy or cadge free downloads and hear more.
These three samples of Yma are from three distinct stages of her career.
MONOS (translation: MONKEYS) is typical of her early Latin novelties.
XTABAY is her famous half-sung half-vocalise exercise in jungle drama. Quite a few numbers like this are as intoxicating as a pina colada...with an extra splash of tequila (and don't forget the worm).
MEDICINE MAN comes from her foolishly titled "Miracles." This album also has her take on "El Condor Pasa" and while it's nice that she ignores Paul Simon's lyrics, her menopausal cooing sounds like a toucan on crack. Not that this is a bad thing. It's well worth hearing, but "Medicine Man" is even more bizarre, with Yma whooping it up over multi-octaves. Yes, it proved she had a wider range than the other gay fave of the day Bette Midler. To which, most any sane person would ask, "So what?"
Yma Sumac was an amusing novelty singer in her day, with some numbers giving off an air of both inspiration and perspiration, but these days her memory is mostly evoked by gays who should simply buy opera records or have the honesty to dress up in drag while listening to Carmen Miranda. Additionally, there's the lounge and exotica crowd who still can't get over the fact that Martin Denny threw some bird noises into a middle-of-the-road bit of soundtrack music...and have made a cult out of anything that came from any place that grows guavas.
At her best, Sumac might be described in the same manner James Russell Lowell wrote of his contemporary, Edgar A. Poe: "Three-fifths...genius and two-fifths sheer fudge."
The percentage may be different with Yma, but it would be a good idea, if you're going to listen, to have a fifth handy, and take a few shots before you start.
MEDICINE MAN Medicine Man
MONKEYS Monkeys
XTABAY XTABAY

W.C. FIELDS MEMORIAL ELECTRIC STRING BAND

In 1966, the Byrds and the Monkees nearly had some competition from a band named for a curmudgeon who died on Christmas Day, twenty years earlier.
But did the group's lead singer sound anything like W.C. Fields?
Well, no. He sounded more like any guy fronting a Strawberry Watch Band Love-In Groove band of the day...
The band released a single "Hippy Elevator Operator" b/w "Don't Lose the Girl" on HBR...which was the music wing of the less-than-hip Hanna-Barbera TV cartoon factory. DJ's may not have taken too seriously anyone associated with Yogi Bear and Quick Draw McGraw, but the group did have rock creds. The main members of the group were George Caldwell and Robert Zinner (who co-wrote "Hippy Elevator Operator"). They had previously been in a Redondo Beach area band called The Bees, a band that showed some Rolling Stones influence and covered Dylan once in a while. They played fairly regularly in Southern California but only recorded a few tracks. Then came a name change. According to Caldwell, "One night I was lying on the couch watching TV and the name just came to me on a piece of flaming lemon meringue pie. I saw the words on the screen being typed on a piece of paper - "W.C. Fields today" - and so I renamed the band the next day."
The band also issued one single for Mercury the same year. They were the first to record "I'm Not Your Stepping Stone," but it was The Monkees who brought it into the Top 10...while the Fields band disappeared into the haze. They are still fondly remembered, and/or flash-backed, by fans of garage-psych, and sometimes a comedy fan will raise an eyebrow and ponder one of their 45's, and wonder if it's worth buying for $10 or $20 because the band members might be somehow doing an imitation of Uncle Bill. No, no matter how much Sheepdip you consume, you won't be able to hear anything to remotely remind you of The Great Man.
But for mid-60's spaced-out grunge, these guys deserve to be more than stepping stones to The Monkees.
4 Sides of THE W.C. FIELDS MEMORIAL ELECTRIC STRING BAND

ZACHERLEY! Sample THE COOL GHOUL

Now 90+, and looking the same as he did when he emerged in the late 1950's as cult tv's undead "Cool Ghoul," John Zacherle is a legend. He spliced himself into the old horror movies he was hosting, created a low budget world of support characters (one was pretty much a huge slab of gelatin) and laughed at his own bad horror puns with a cheerful barking yock. He got the cover of "Famous Monsters of Filmland" without making a film (although his records were sold in the back pages), had a novelty hit via "Dinner with Drac" and even covered "Monster Mash." After influencing Vampira, Elvira and dozens of other would-be horror TV hosts he miraculously went from East Coast TV phenom to rock disc jockey on WPLJ in New York. Very cool! That's just the merest thumbnail sketch, because I lost the actual thumb I was typing with! Ha...ha...yock....
Here's a sample of vintage and recent Zach tunes, to put a Sardonicus-grin on your otherwise normal face.
The lucky 13 download includes "Coolest Little Monster," "Sure Sign of Spring," "Transylvania PTA," "Graverobbing Tonight," "Formaldehyde" and even a cover of Tom Petty's "Zombie Zoo."
Box.net download, my dear. Ha ha...."

Neil Young's AFTER THE GOLD RUSH: A CAPELLA

Some people think Neil Young is a very effective singer. Others don't.
The same is true of The Kings Singers, who have spent decades creating a capella harmonies out of all types of tunes, including rock classics.
They are either an irritating barbershop quartet that went too far (ie, added two extra singers) or the loveliest sextet of tonsils in the United Kingdom.
You could got out and buy a whole bunch of their albums, or you could just go out of your mind.
Here's your introduction to The Kings Singers.
KINGS SINGERS do NEIL YOUNG Listen on line or download. No pop ups no porn ads no Paypal donations accepted.

ANNE PRESSLY (1982-2008)

The statement from Anne's parents on October 25th:
"It was our hope, as was yours, that Anne would overcome the injuries inflicted upon her in the brutal attack at her home. We were with her in her last moments, and although our hearts are broken, we are at the same time comforted by our faith knowing that Anne is now with our heavenly father."
Reported on the website of KATV, Arkansas:
http://www.katv.com/news/stories/1008/564436.html

From a song by Cindy Bullens about her deceased daughter:

"I watched the news on TV. The new breakthroughs in technology.
Can you find your way back? Will you find your way back?
If they find water on the moon, if they discover life on Mars
Does it mean you'll be home soon? Can I hold you in my arms.
I used to believe in miracles.
There was a time when I could be so inspired by life's mystery.
Can I find my way back? Will I find way back?
....Oh I know you're somewhere...somewhere out there.
If I could go, I'd be there. I would be there...
I want to believe in miracles..."

Most anyone dealing with the grief process would benefit from hearing Cindy's album "Somewhere Between Heaven and Earth," a concept album with songs of tears, anger, frustration, confusion, coping and finding a way to remember the past while facing the future.

"Water on the Moon" sung by Cindy Bullens Listen on line or download.

HEFTI'S BAG: more than Odd Couple & Batman

Along with the late (see the entry further down the page) Nappy Brown, Neil Hefti was another jazz artist who barely missed getting another birthday under his belt. Hefti died on October 11th. He was born October 29th. (That's October 29, 1922 – October 11, 2008 if you're the linear type).

Like his jumpy-cadenced colleague Burt Bacharach, Hefti's most creative era was the 60's, when his unique jazz-pop rhythms enlivened many movie and TV soundtracks. Of course the two numbers that leap to mind would be the silly and cartoonishly discordant "Batman" theme and the dippy and splashy theme for "The Odd Couple."

The Omaha-based trumpet player came East to work with Bob Astor's band, Charlie Spivak, a variety of influential be-bop artists, and then Woody Herman's big band on the West Coast. More than playing music, he enjoyed writing it, and creating charts...and early Hefti tunes "The Good Earth" and "Blowin' Up a Storm" were Woody Herman hits. Hefti arranged songs for Woody's girl singer Frances Wayne...and married her.

One reason Hefti's later work would be so fresh and original was that he was absorbing both the new styles of Dizzy Gillespie and the contemporary classical works of Igor Stravinsky. He won the admiration of Charlie Parker who covered a Hefti chart called "Repetition." Parker's stamp of approval helped Neil Hefti join Count Basie in 1950. Several of the Basie-Hefti albums (including "Atomic Basie") are considered jazz classics. Miles Davis even declared that it was Hefti's composing and arrangements that made the Basie band worth hearing. No doubt the hip swing of Hefti-Basie influenced many jazz and pop artists into choosing a more "jumping" brand of arrangement. Frank Sinatra would soon work with Basie and use Hefti arrangements.

There would be various vinyl tributes ("Steve Allen Plays Hefti," "Basie Plays Hefti," "Harry James Plays Hefti") but ironically, Hefti had few hits in the jazz field. The soundtracks were more lucrative and he won a Grammy for "Batman." He also had Grammy nominations for "Girl Talk," a song on the soundtrack of his score for the Carroll Baker movie "Harlow" and for "The Odd Couple."

Below, a retrospective of Neal's pop pallette. You'll find various tunes that may remind you of his contemporary eccentrics like Burt Bacharach and Vic Mizzy...guys who also tended to tilt around with syncopation, zany melody, and near-parodies of pop.

1. ODD COUPLE (with the lyrics! from The Odd Couple)
2. FRAULEIN D-CUP (from Boeing Boeing)
3. Main Title Theme (from Boeing Boeing)
4. LONELY GIRL (from Harlow)
5. WALTZ FOR JEANNIE (from Harlow)
6. SCRAMBLED EGGS (kicky instrumental from Harlow)
7. CARROLL BAKER A-GO-GO (from Harlow)
8. OH DAD POOR DAD (vocal version, from Oh Dad Poor Dad...)
9. SPOOKY COFFINS (harmless funeral march from Oh Dad Poor Dad...)
10. SEX AND THE SINGLE GIRL (Fran Jeffries vocal from the film)
11. HOW TO MURDER YOUR WIFE (vocal, from the film)
12. BATMAN radio tie-ins (J.C.Penny ad and WPCG disc jockey rip-off)
A Dozen HEFTI Pieces

The Charming Miss Edie Adams

Different erotic strokes for different ill folks...Edie Adams, who died a few days ago at age 81, may not have been a big star, but she made an impression in many different ways.
For some, she was the 50's version of Mae West, the sultry sexpot whose commercials for Muriel cigars included the line, "Why don't ya pick one up...and smoke it sometime..." She would play Mae West in a cameo scene for a 1984 film bio of Ernie Kovacs, "Between the Laughter." A later Muriel commercial was built around a parody of "Sweet Charity" and the line, "Hey big spender...spend a little DIME with me..."
Many recall her as a warm, nice-looking comedienne able to play a sexy housewife (the film "Mad Mad Mad Mad World") or a charming fairy godmother (the original TV production of "Cinderella") or the prototype for bustin' out hillbilly temptresses (the stage production of "Lil Abner")
For some, Edie was simply a living link to the cult idol Ernie Kovacs, and for a rather small group, Edie was known as a capable pop singer...although she didn't exactly get into the studio too often.
Born Elizabeth Edith Enke, April 16, 1927, she was a pretty, and pretty straight when she enrolled at the Juilliard School of Music...and while she had some technique, most of her teachers felt the bland blonde didn't have the skills or vocal personality to really be successful as a soprano or as a pop signer. On looks alone, she auditioned and won the minor job of singing on a local TV show. It was hosted by an obscure Hungarian named Ernie Kovacs...but with Ernie's guidance, Edie loosened up and emerged as a versatile entertainer who could sing, do impressions, and star in skits. She would soon make her Broadway debut in "Wonderful Town," and take nightclub work mixing songs with her comic impressions of Marilyn Monroe, Mae West and Marlene Dietrich. Her next Broadway role was a lead: Daisy Mae in the 1956 production of "Li'l Abner." Her next part, quite different from Daisy Mae, was as the magical, chucklesome fairy godmother in the Julie Andrews TV production "Cinderella." In the late 50's she also issued a few records, notably "The Charming Miss Edie Adams" which included a few songs penned by Ernie Kovacs, including "He Don't Wanna Be Kissed."
Kovacs was killed in a car crash in 1962, and despite doing well as Sid Caesar's wife in "Mad Mad Mad Mad World" a few years later, Edie was not often prominent in films or on TV in the 70's. Her own TV show, "Here's Edie" had a brief run. In 1982, Mia, the daughter of Ernie and Edie, was killed in a car accident, thrown through the sun roof of the vehicle. Her boyfriend survived with minor injuries. Over the years Edie had the usual TV guest credits; Fantasy Island, The Love Boat, Murder She Wrote and Designing Women among them. She married twice more, to actor Marty Mills (they had a son) and to jazz musician Pete Candoli (they were officially divorced in 1989, but had been separated for a decade).
Edie's "charming" album with various Kovacs tunes was re-issued by Varese Sarabande on CD, and "Cinderella" and "Li'l Abner" (stage, not film version) are also easily available for Edie fans...so let's go back to where it all began and hear an example of Edie's "straight" work and Ernie Kovacs being Ernie, on "Indian Love Call."
INDIAN LOVE CALL by Edie Adams and Ernie Kovacs Listen on line or download, porn-ad free.

FOUR TOPS DEATH: LEVI STUBBED OUT

"I don't consider myself as being a heckuva singer," Levi Stubbs said, "I'm more of a stylist, if you will."

Think about it. What made the Four Tops lead singer stand out was not smooth warbling, but shouting, bellowing and exasperated talking!

The classic Four Tops tunes were unlike anything else on the radio because the lead singer did not really sing...not in the smooth way of The Supremes, The Temptations, or the anguished white guys out there like Del Shannon and Roy Orbison. Levi Stubbs didn't sing. He agonized.

He also had an "old voice." Everybody else you heard on Top 40 radio stations sounded under 30. They sang about teen problems...puppy love gone wrong. Not Levi Stubbs.

Born Levi Stubbles (June 6, 1936 – October 17, 2008) he was about 30 when he was putting together that string of hits. But he sounded 40. Who but an older guy would even have a woman he could call "Sugar Pie Honey Bunch?" That's Kingfish's wife, not a Top 40 teen singer.

And in his best songs, he simply bellowed his aggravation, his rage at living in "Seven Rooms of Gloom," or his grim rap in "Shadows of Love," where his shout out is: "Gave you all the love I had, now didn't I? And when you needed me I was always there, now wasn't I?" How about "Reach Out," where he doesn't sing out but call out, "Come on Girl, Reach out to ME!"

What also augmented the agonized style of Levi Stubbs, was that the charts were written high...and so Stubbs, a natural baritone, had to strain on most of those tunes. It's no surprise that most karaoke fans, who can't handle an Orbison tune, or an Elton John song (he, who referenced "those great old Four Tops songs") can at least stumble around Stubbs and chant "Standing in the Shadows of Love."

Often a Four Tops song was about snarls and spoken passages and yelps. Was he really singing "Can't Help Myself" or just crying it? Was he crooning "Seven Rooms of Gloom" or talking it through? Wasn't it usually his help-mates, the other Tops, who led him into the melodic chorus ("Reach Out, I'll Be There") after he spent most of his time barking out his frustrations? Was he singing "Bernadette" or shouting her name? Classic Four Tops songs portrayed a grown adult male driven to his knees by love or hate, being sung from one place: hell.

As writer David Hinckley said of Stubbs' voice, "It wasn't exactly a gospel voice, it wasn't exactly soul," and it wasn't exactly singing all the time. Hinckley also notes, the prime of The Four Tops "lasted three years, from "Baby I Need Your Loving" in 1964 to "Seven Rooms of Gloom" in 1967." That's 30 years (the original Four Tops began to need replacement in 1997) of playing the oldies circuit and having a minor hit now and then...which qualifies The Four Tops for being on the illfolks blog as an often underappreciated group.

Any of you have much Four Tops or Levi Stubbs music recorded from the 70's, 80's or 90's? Once in a while Stubbs and/or company made their way back into the charts. Stubbs voiced the man-eating plant in the film version of "Little Shop of Horrors" while the Four Tops performed 'Loco In Acapulco' for the soundtrack to 'Buster.' The biggest shot the group had for returning to form was 'Indestructible,' used on a 1988 Olympic Games soundtrack album.

Levi Stubbs had worked the oldies circuit long enough so that most fans knew his weird trademark of jet black hair and a gray-white beard. In 1997 the first of the original Four Tops died, Lawrence Payton, and three years later, Stubbs, already diagnosed with cancer, could no longer perform with the group. Theo Peoples has been the lead singer since 2000, with Ronnie McNeir replacing Payton.

Of course those old Four Tops songs are classic, and you can check out the "Little Shop of Horrors" movie anytime, so the choice for a tribute is the appropriately titled "Indestructible," a pretty good comeback tune with Stubbs and the gang still giving more of a shout-out than a sing-along.
Indestructible! sung by LEVI STUBBS Listen on line or download, porn-ad free.

The Big Dirt Nap: Nappy Brown's 6 Feet Down

"Nappy Brown." Well, maybe that's not the most politically correct name of all time, but that's what Napoleon Brown Culp chose for his singing career, and it was catchy enough to keep him working for about 50 years.
Nappy, who didn't miss his next birthday by much (October 12, 1929-September 20, 2008) had his biggest hit in 1955 when Brown reached #2 (go ahead, search for the feeble joke) with "Don't Be Angry."
The song's notoriety resided in the opening line, where Nappy tossed in a dozen or so stuttery "LILs" before asking his girl (named Lil?) not to be angry. Nappy fit nicely between The Platters, Fats Domino and Louis Jordan...but didn't quite have their level of continuous hits on the straight or R&B charts.
Nappy made the circuit again and again, and lived to see his minor chart tune "Piddly Patter" turn up in the John Waters-Johnny Depp classic, "Cry Baby." In 2007, Brown made a comeback album called "Long Time Coming" and...you guessed it...was asked to re-do his hit "Don't Be Angry."
You get both the old and new versions below.
And something else. While Nappy could certainly chop his way around any earnest R&B ballad or blues number, he had a special affinity for nuttier stuff, and so let's include "Something Gonna Jump Out the Bushes," a rudely fleshed-out tune that merely borrows a line from its ancestor, "Out the Bushes" (a hit by The Treniers, also obscurely covered by Murray the K) before going off into its own lascivious territory.
Nappy was lively and performing as late as May of 2008, before he became the late Nappy Brown. So, "Don't Be Angry." He had a pretty long and strong career, and his rollicking blues and lively R&B tunes will continue to knock 'em dead.
The original DON'T BE ANGRY Listen on line or download, porn-ad free.
2007 Re-make of DON'T BE ANGRY Listen on line or download, porn-ad free.
Something Gonna Jump Out the Bushes (and grab you) Listen on line or download, porn-ad free.

Ill-Ustrated Songs #16 "Yiddishe Mama" in SPANISH Neil Sedaka

Posted in time for the most solemn day on the Jewish calendar, here's Neil Sedaka singing the tearjerker "My Yiddishe Mama" in Spanish.
There's nothing too surprising about a link between the Jews and Latin countries. The great ventriloquist Senor Wences was Jewish. The Sephardic Eydie Gorme recorded many albums in Spanish. And Neil Sedaka very carefully made sure he was in key (it was the day of attunement) when he recorded his favorite tunes en Espanol.
Even so...this is posted in time for Yom Kippur, because if there's anything that could make the day more gloomy, THIS IS IT.
MY YIDDISHE MAMA in SPANISH Listen on line or download, porn-ad free.

Six Days on the Road - Colleen Peterson

Colleen Susan Peterson died on October 9, 1996. She was born November 14, 1950. You do the math, and see she died too young.
Signed to Capitol, she released "Beginning to Feel Like Home" in 1976, and the reason for her classy, lilting style with country-rock was obvious to anyone reading her publicity material: she wasn't from America. She was Canadian. So, like members of The Band, or like Neil Young...she had a fresh sound...call it shit-kicking without the smell.
While cross-over C&W artists like Crystal Gayle add down-home warmth to their mainstream recordings, Peterson added Canadian cool to redneck numbers like "Six Days on the Road."
The Ottawa artist who'd won "Most Promising Female Vocalist" Gold Leaf honors in 1967, and was later part of the group 3's a Crowd, had a decade of mileage by the time she was ready to take on America, and she did reach the Billboard charts with "Souvenirs." But she never did make a major dent in the USA, and after "Colleen" (1977) and 1978's "Taking My Boots Off," she was off Capitol, and less the spotlight attraction than the support. She guested on some Charlie Daniels records, and sang back-up for Waylon Jennings, Marty Stuart and others.
Colleen staged a comeback in Canada in 1986. She scored a hit with "I Had it All" and released her first album for the new decade, 1988's "Basic Facts." She had many more hits in Canada, and in 1994 became part of a new group, Quartette, for albums and touring. But just two years later, Colleen was dead of cancer, age 45. A posthumous album, "Postcards from California," was cobbled together from demos Colleen Peterson and writing partner Nancy Simmonds had put together over the previous few years. Some of the profits from the album go to winners of the annual "Colleen Peterson Songwriting Award."
SIX DAYS ON THE ROAD...smoothed out by the late, great Colleen Peterson

Ill-Ustrated Songs #15 Slaughter on Tenth Avenue Al Caiola

Here's the brilliant Al Caiola version of "Slaughter on Tenth Avenue."
Lounge. Too often, this term is abused by the un-hip.
If you're in a record store and you see a guy with stooped shoulders hauling a backpack, wearing a sloppy plaid shirt and khaki pants and Hush Puppies, you damn well know what bin he's hunched over: "LOUNGE." He'll squint through his glasses at any name he's been told is cool to like (Esquivel, babe) and maybe even take a fearful glimpse at those Julie London album covers that say, "You couldn't even put me on a spindle properly."
And he'll probably overlook the Al Caiola albums. Good. He's missing tracks like THIS, from Al's "Spies and Private Eyes" disc.
On this arrangement of "Slaughter on Tenth Avenue" gunshot percussion and a blast of brass let us know that we're in a bad part of town on a dangerous night; West Side Story without chorus boys or Sondheim. Al Caiola hauls out his twanger and seems to count the number of punches being thrown.
We're barely a minute into the tune when the neighborhood really starts to rumble; organ blasts to one side, gasping horns on the other. And then, soaring over it all like a police helicopter, one hell of a trumpet. Blow, Gabriel, because some devils are gonna be swoopin' the planet tonight.
Too often it's easy to overlook how calculated "charts" can be, and how perfectly they can produce some sonic sock. This is a textbook example on how to pull out all stops in tempo, juxtaposition of brass vs percussion, and the texture of hard bongo skin and twangy guitar, to produce an audio picture of mixed-neighborhood mayhem.
The tune cues the warning wail of a trumpet again, a police siren howl. The organ weeps and shudders, but the relentless drums don't stop, and with 40 seconds left, Al Caiola picks up the body count with his guitar pick, till the squealer brass section calls the cops and there's a final stuttering step-away from the crime by the drums.
That was one helluva slaughter. Listen on line or download, porn-ad free.

GEORGY GIRL - Sung in German Conny Froboess

Ach du lieber, what can you say about Conny Froboess? Really...if you have anything to say, leave a comment, 'cause this entry is pretty scant.
Frankly, I got an album of hers just because the cover looked nice, it was cheap, and I rightly figured she'd cover some hit tunes in German, which is always fun. I had little idea who she was when I bought this 10 years ago, and I haven't gained much ground since. But...
...she does a sprightly job with "Georgy Girl," which is a teut uncommon.

Born Cornelia Froboess, October 28, 1943 (I've given you time to get her a present), Conny was a precocious child star thanks to a hit tune called "Pack die Badehose ein" (pack your swimsuit). As a precocious teen, she starred in such classics as "Hula Hopp, Conny" (1959) as well as "Mariandl" (1961) and "Mariandl's Heimkehr" (1962). In her 20's, she was recording pop albums. These albums, if you hunt them down, have lilt. After all this time, they may also have lint.
Conny's film career stretched through the 20th century, and if you can find 'em, you'll see her in such varied and tantalizing offerings as "Der Musterknabe" (1963), "Crazy Total Verrukt" (1973), the fabulous Fassbinder's "Die Sehnsucht der Veronika Voss" (1982) and "Knockin' On Heaven's Door" (1997).
A kindly German friend told me that indeed, Conny was a very big star, is still very well remembered, and the reason the disc and film credits have gotten less over the years is that Ms Froboess has concentrated more on her stage career, and performing for a live crowd.
der German GEORGY GIRL

ILL-USTRATED SONGS #14 VALERIE - Marshall Crenshaw

The Ill Folks blog anthem could well be Marshall Crenshaw's "You're My Favorite Waste of Time," so let's perversely choose "Valerie" instead. One of many "off" artists (a contemporary of Jonathan Richman and Greg Kihn), M.C. never exactly became a chart success with his odd punk and rockabilly mixes.

No doubt the labels who kept pushing oddballs like Loudon Wainwright, Nick Lowe or Randy Newman knew they'd eventually get at least a fluke novelty hit, but Crenshaw? His labels kept trying but none of his quirky numbers ever nicked the Top 20, did they?


Crenshaw's put out many an album, and each has some truly catchy tracks.
OK, maybe he never ran over a skunk, laughed about a dead actress being nibbled by her dog, or cracked a verse about short people...but he did sing this Buddy un-Holy ode to "Valerie," who might be short, might be capable of eating human flesh, and might smell to high heaven, too.
VALERIE by CRENSHAW