New Year: It's My Party - Helen Shapiro Paris Sisters

Welcome to 2011, and for many, the year went downhill with the ball dropping in Times Square and 5,000 blackbirds dropping in Arkansas. Nine days in, and it's the usual political ineptness, economic catastrophes, and mindless mass-slayings with politicians shrugging off gun control legislation even as one their own was gunned down in Arizona.

Well, as Lesley Gore learned many years ago, any party can turn into a disaster, and if the party is the Republican, Democratic, Tory, Conservative, Labour, or Whig...there's a good chance you'll end up crying.

Gore's 1962 hit about a jilted girl crying at her party, was written by, oddly enough, three guys: John Cluck, Wally Gold and Herb Weiner. Soulful Barbara Jean English cut a demo of it, but demo singers were rarely taken seriously (she would later mount a decent career). The song was handed to British songbird Helen Shapiro, and also to producers Phil Spector and Quincy Jones. Phil had one of his girl-groups record it while Quincy masterfully chose it for unknown teen Lesley Gore and gave it a throbbing pop spin.

Gore's version became a huge hit, because it deserved to be. Many times two or more versions of a song were released at the same time and the better one won. She's never been given enough credit for being one of the perfect voices for teen angst (and the reverse, as heard on the bitter "Don't Make Me Over" and bitch-slapping "Judy's Turn to Cry.")

To say Gore's version is best doesn't imply that other versions aren't valid, and that some will be more appealing to a few listeners. Shapiro's way differs from Gore. And so does the simpering, whispering, hurt take from the Paris Sisters. No matter how it's sung, the message is the same...at the happiest moment, tragedy can strike. Or to quote a line from a song by Andy Bown, "it's just a spiral from contentment to despair." Happy New Year.

HELEN SHAPIRO - ITS MY PARTY

PARIS SISTERS - ITS MY PARTY

Groucho Marx fave: STAY DOWN WHERE YOU BELONG - HENRY BURR 1915

When the somewhat frail Groucho Marx made his "comeback," sparked by companion Erin Fleming and such devotees as Dick Cavett and Marvin Hamlisch, he briefly toured in a one-man show. Released by A&M cobbled from several tapes (as Groucho wasn't always on target at every performance with every song or anecdote), the program sounded like a triumph. Old Julius was getting stampeding applause just for mentioning the names of old movies. Every anecdote and witticism was treasured (and most deserved to be) and a big revelation was his choice of songs. Naturally he included crowd-pleasers written or co-written by his friend Harry Ruby, but he dipped into nostalgia for some numbers he remembered others singing in vaudeville or on 78rpm.

One of those: "Stay Down Where You Belong," is by the usually optimistic Irving Berlin. It's about The Devil himself, talking to his son about how much nicer it is in Hell than on Earth. A song that would've been a little too grim for Rufus T. Firefly to sing in "Duck Soup," it's an anti-war piece that includes these lines, which Groucho sometimes reprised for his audience in an encore coda: "They're breaking the heart of mothers, making butchers out of brothers. You'll find more hell up there than there is down below."

While the song was also covered by Tiny Tim (it appears on "God Bless," 1968) the original's been an obscurity since 1915, when it was recorded by one of the great stars of the era, Henry Burr (born Harry McClaskey in Canada, January 15, 1882 - April 6, 1941). Burr was one of the busiest performers in the acoustic days of brittle black shellac, making discs faster than clumsy people could break them. Scholars are still unsure how many sides Burr recorded…estimates are 3,000-5,000. Aside from being a soloist, he sang duets with Ada Jones, Albert Campbell, Louise McMahon and many others, and was a key member of the Sterling Trio and the Peerless Quartet. He also used plenty of aliases as he recorded for many rival labels. He was Harry Barr for Harmony, Harry Haley for Apex, Henry Gillette for Aurora, Alfred Knapp for Velvetone, Alfred Alexander for Pathe, Robert Bruce for Emerson, and on and on.

As you'd expect from a guy who was required to sing loud and clear for primitive recordings, and to reach the back row of a concert hall, Henry's style was somewhat melodramatic, which matched the sentiments of so many of the songs he covered, including "Carry Me Back to Old Virginny," "If You Were the Only Girl in the World," "I'se Gwine Back to Dixie," "Missouri Waltz" and "Where Is My Wandering Boy Tonight?" As you can tell by the titles, the best way to reach buyers at the time was to play on their patriotism, ethnicity, or maudlin love of home and family. It was definitely odd for Burr to sing a cynical number such as "Stay Down Where You Belong." The songs that were most popular in the World War One era were positive ones, including the George M. Cohan classic from 1917 that ends: "And we won't come back 'til it's over Over There!" The few anti-war numbers ("I Didn't Raise My Boy to be a Soldier" and "Don't Take My Darling Boy Away") were sentimental, with this one, perhaps the only hit that was a downright protest song.


HENRY BURR - STAY DOWN WHERE YOU BELONG

CAMP RUNAMUCK - Homer & Jethro

It's December 29th…here's a post on "Camp Runamuck," and you're wondering: "Why would anyone care about a summer camp…in winter?" Well, so were the execs at NBC, who by this time were solemnly checking the ratings for their sitcom about a boy's camp (and the efforts of its counselors to connect with the all-girls "Camp Divine" across the lake). But by winter of 1965, it was obvious that this show about campers was not warming up viewers, who instead were watching "The Flintstones" on ABC or Robert Conrad's spy-Western "Wild Wild West" on CBS.

However, in sympathy with the ill spirit of conjuring up a summer camp in winter, the Illfolks blog presents you with not only the original Frank DeVol instrumental, but the ambitious lyrical version from Homer & Jethro, who musta thunk that the show would be a hit and propel their "Old Crusty Minstrels" album to the top of the charts. They probably would've done better to cover Allan Sherman's "Hello Muddah Hello Faddah," which was probably the inspiration behind the development of "Camp Runamuck." Sherman's novelty song was a hit in the summer of 1963, won a Grammy in 1964, was exploited via a fresh "1964 version" single the following summer and then its own board game in 1965 along with a children's book.

"Camp Runamuck" was simply not cut out to last more than a season (it's 26th and final episode aired April 15th, 1966). The show had a "zany" cast, but they were all minor sitcom actors who could be very funny in a supporting guest role, but didn't have the major skills to carry a series. Head counsellor Dave Ketchum was much more memorable as hapless Agent 13 on "Get Smart," mildly confused Dave Madden wasn't even much on "Laugh-In," and there was little for other sour or bumptious actors (Leonard Stone as the camp doctor, Hermoine Baddeley as the owner of the girls' camp) to do for big laughs. The lead was Arch Johnson, owner of "Camp Runamuck" but not the most hilarious of "blustery" and exasperated sitcom heavies. Probably the most notable cast member was Nina Wayne (brunette sister to infamous dizzy blonde Carol Wayne).

Some Brits might remember this series. The BBC actually imported "Camp Runamuck" as a Saturday morning kiddie show back in the 70's. One good thing about the piracy that has caused much fewer movie releases, and more mindless TV reality shows, is that budget-conscious cable stations and streaming video sites are starting to pick over the funny-bones still lying in the vaults. When very few new sitcoms last six episodes and are a total loss, a full 26 episodes of an old oddity sounds pretty good!

There were many one-season wonders back then, sitcoms that had a weak premise but professional writing and acting. Consider "It's About Time," about astronauts going back in time to encounter cave dwellers Imogene Coca and Joe E. Ross or "The Smothers Brothers Show" (Tommy, lost at sea, returns as an angel seen only by brother Dick). I don't think the alternatives are Jonathan Ross, Judge Judy or "the Kardashians visit the Jersey Shore." PS, if you were wondering if you'd ever get to see the legendary "worst sitcom of all time," you can. The Jerry Van Dyke-Ann Sothern novelty "My Mother the Car" is now streaming your way via Hulu.com.

CAMP RUNAMUCK - instrumental TV THEME SONG
CAMP RUNAMUCK - sung by Homer and Jethro

LIFE IS JUST A CARNIVAL - KOLONOVITS not BEEFHEART

Captain Beefheart (Don Van Vliet) passed on the other day, and since he was very well known, and well bootlegged, and well downloaded, not much needs to be said about him here. Except that the "awful awful diseases" that Warren Zevon sang about, do strike even the rock titans, and it's sad to realize that a guy who was often struggling for money in pursuit of his unique vision, was in the end struggling against multiple sclerosis. Among those who chose to be weird and challenging, the Captain certainly ended up a lot more famous than, say, Kolonovits…who did create one very provocative album before he moved on to much more lucrative things.

Circa 1977, a strange album called "Life Is Just a Carnival" appeared…an odd audio collage of electronica and dada, inspired by everything from Lennon's "Strawberry Fields" to the symphonic Zappa, and even the sorrowful balladry of Nilsson. That's all the tease you need to download four representative tracks: "Life is Just a Carnival" "Join the Carnival" "Society" and the spoken "TV Love Story," just as they rolled off side one of the album originally released on CBS in Germany…and which some eBay sellers hope will put some dinner on the table.

CBS/Columbia in America wanted no part of 25 year-old Christian Kolonovits, so it took a few years before an indie label pressed a few thousand copies. The album notes declared: "With this album the artist tears off the mask and gives up the role forced upon him. His keyboards fly unfettered. The compositions are rich with the baroque influence of Bach and the purity of Gregorian chant. Kolonovits is a new name in the States. Soon it will be known, admired and sought after by all lovers of outstanding progressive European music." While the album was ignored as an eccentric item from an unknown, "Life is Just a Carnival" was only the beginning, and this musician has had a full career over the last three decades. Though not particularly as a singer/songwriter of his own symphonic rock epics.

Christian was born in Burgenland, the son of a Croatian father and a Hungarian mother…which might mean that he would understand getting bootlegged by some asshole blogger in Croatia, but would still feel gloomy about it. He studied piano, cello and composition at the Vienna Music Academy, and in 1980 after his solo album and a year in France, he came back to Vienna to produce a variety of Austropop artists including Wolfgang Ambros, Reinhard Fendrich and Ludwig Hirsch. He later composed movie and TV scores (including the 2008 movie "North Face"). According to his website his projects have garnered 70 gold and platinum awards. Which isn't to say he's got that many statues on his desk, but produced or engineered or had a writing credit on some very successful discs.

He's worked with Placido Domingo, Kiri Te Kanawa, Sarah Brightman, Helmut Lotti, Michael Bolton, Patricia Kaas and the Scorpions. As one might have expected from the eccentric glimpse of orchestral bravado on "Life is Just a Carnival," the guy has spent most of his past decade as a producer, arranger and conductor, working with the Vienna Smphony, Berlin Philharmonic, Hollywood Bowl Orchestra, Budapest Philharmonic, and others. In 2006 he wrote for the British band Tiger Lillies (not to be confused with a British punk band of an almost similar name, which has floundered without its founding lead vocalist.) He wrote tracks for "Sting in the Tail" by the Scorpions and most recently produced the debut album for Alexandra Schertler. And if you go and check, he maintains rather stern poses of himself at kolonovits.com (including the inset B&W on this page). Perhaps he is still asking the musical question: "Life is just a carnival…isn't it a joke??"

LIFE IS JUST A CARNIVAL Instant download or listen on line. No capcha codes, wait time, or whines about paying for a premium account.

Angel of the Morning Skeeter Davis Merilee Rush etc.

When premarital sex was still a very troubling "sin," this tune turned up, just a hot skip and a hump away from "Will You Still Love Me Tomorrow." Progress: THIS girl thinks she can have a devilishly good time all night and still be an "angel of the morning."
Especially since a man wrote this: Chip Taylor, offering an alibi for chippies.
Saintly martyr Merilee's Rush to judge her one-night-stand:
"There's no need to take a stand for it was I who chose to start. I see no reason to take me home. I'm old enough to face the dawn...Just call me angel of the morning...Then slowly turn away from me."
Even Humphrey Bogart couldn't follow that instruction without busting a gut laughing. "You're good, angel, very good. Now I'll slowly turn away, and you can leave...and I'll change the sheets..."
More from this sanctimonious slut:
"If morning's echo says we've sinned. Well, it was what I wanted now. And if we're victims of the night. I won't be blinded by the light. Just call me angel of the morning."
Can I just call you a cab and sleep an extra hour?

"A pretty dirge, is like a melody..." Share a load with:
Chrissie Hynde
Merilee Rush (original and re-make)
Joya Landis
Barbara Jones
Skeeter Davis
P.P. Arnold
Shaggy
Juice Newton, etc. etc.
The song ends with this:
"I wont beg you stay with me. Through the tears! Of the days! Of the years!"
OK, bitch, bye!
Get lucky. Download the ANGELS

Update November 2011: Some extra versions upped individually:

NINA SIMONE
PERCY FAITH

BLAKE EDWARDS SALUTE via HENRY MANCINI

Strange, isn't it…almost all the successful work done by Blake Edwards is linked to music by Henry Mancini. While a few composers are best known for soundtracks done for specific directors (most obviously Bernard Herrmann for Hitchcock and Nino Rota for Fellini), it's very rare to find hit movies from one director mated so often to hit songs by one composer.

Blake Edwards (July 26, 1922-December 15, 2010) found his hit movie "Breakfast at Tiffany's" (1961) matched by the Top Ten hit "Moon River." A year later, "Days of Wine and Roses" was in movie theaters and the theme song was being sung by bad quartets and mediocre torch singers all over the radio. And when it comes to instrumentals, it's impossible to think of Blake's hit TV series "Peter Gunn" or hit series of "Pink Panther" movies without those theme songs coming to mind.

Edwards was a bit too prolific, and his wide variety of hit-and-miss movies has diminished his legacy as a director and writer. He no doubt has a cult following for at least some of these: Operation Petticoat (1959), The Great Race (1965), What Did You Do In the War Daddy (1966), The Party (1968), Darling Lili (1969), Wild Rovers (1971), The Tamarind Seed (1974), S.O.B. (1981), Victor Victoria (1972), 10 (1979), and many more.

Born William Blake Crump, he entered show business with his middle name ands step-father's last name, assembling a varied list of credits including the role as young and ineffective hero in "Strangler of the Swamp," a 1946 obscurity that boasted some moody low-budget effects (lots of fog) and a confused, Evangelical script that managed to work in God's role in vengeance and redemption in handling a swamp zombie; a twist on Christ's role in repelling vampires. Edwards had more luck as a script writer for radio ("Yours Truly, Johnny Dollar," a witty private eye series starring Edmond O'Brien) and screen ("Operation Mad Ball" with Ernie Kovacs). He became a director of noir TV shows: "Richard Diamond," "Mr. Lucky" and ultimately "Peter Gunn."

Through his many decades making films, Edwards was adept at drama and often had his best successes with comedy. He was one of the few directors in the 60's and 70's to try and bring back the visual gags of the silent era, although in everything from "The Party" to "The Great Race" and the Panther series, there were some painfully obvious and labored moments that were quite leaden. But mixed in, were inexplicably brilliant vignettes ("Birdy Num-Nums" in "The Party") and superbly timed bits that never grow old (Sellers as Clouseau spinning a globe, and inevitably resting his hand on it while it's still in motion, slamming toward the floor). Edwards usually knew exactly the right angle for the maximum effect.

Perhaps his best work is actually in the thriller "Experiment in Terror" (1962), which boasts of some eerie scenes shot in shadow, a brilliant use of voice (Ross Martin made his film debut mostly heard but not seen), and a strong, believable pace in presenting the drama of Lee Remick being caught up in a tense and deadly blackmail scheme.

In creating the musical settings for Blake Edwards' best work, Henry Mancini pioneered the jumpy tempo ("Pink Panther Theme") that Bacharach would eventually trademark, turned out melodies that schlock lyrics couldn't destroy ("Moon River") and produced almost a bombastic parody of boogie-woogie and jazz in "Peter Gunn." But he also was a maestro who could conjure up just the right instrument for just the right effect: the autoharp, for example, striking some somber notes in the theme for "Experiment in Terror." Since there's no shortage of places to cop a copy of "Moon River" or the "Pink Panther Theme," it's the Illfolks choice to salute the memory of Blake Edwards.

Edwards, who had bouts with depression and chronic fatigue syndrome, had a famous love-hate relationship with Peter Sellers, and was certainly a maverick in doing things his way (including the highly criticized topless exposure of wife Julie Andrews for a key scene in "S.O.B.") He acknowledged that he was a complex, difficult man, one in need of psychiatric treatment (he even wrote a few film scripts with his therapist!). He was aware of Hollywood's love-hate reaction to him and to his work:

"I like the old Chinese proverb: If you wait long enough by the river then the bodies of your enemies will float by. That used to console me through the dark patches. And then one day I realized that downstream from me there was this whole gang of people I'd been rude to, all waiting for me to float by."

EXPERIMENT IN TERROR THEME Instant download or listen on line. No capcha codes, wait time, or whines about paying for a premium account.

PAUL FREES AND "MONEY" by STAN FREBERG

Stan Freberg wrote some nicely cynical songs, including the seasonal classic "Green Christmas." He usually sang his own material, but an exception is "Money," which was recorded by both Paul Frees and Mel Blanc.

My guess is that both versions came out around the same time, but it's hard to say who got there first. Blanc's version is in print via "The Best of Mel Blanc" from Collectors' Choice, but since they don't have a budget for decent album notes, the chintzy fold-out booklet barely has room for a few paragraphs of information. No release dates are included. Mel was issuing novelty singles on Capitol as early as 1949. His album "Party Panic" arrived in 1953. "Money" could've come out the following year. Paul's definitely did.

The Frees version was recorded on the obscure Century Records label in both 78rpm and 45 rpm forms in 1954. He usually released things under his own name, but this one's credited to "Big Jim" Buchanan. The name may have been a loudmouth conman character he created during his stand-up or radio days.

I'll give the nod for best version to Paul Frees (and not just because I cherish speaking to Frees, and never had the chance to encounter Mel Blanc.) The song is simply better suited to Frees, who talk-sings it with a W.C. Fieldsian sense of glorious corruption, and an almost obscene appreciation for filthy lucre. Blanc, who tries a similar tone, probably would've done better going for cartoonish laughs and using his Daffy Duck voice (although toward the end he can't resist a kind of Woody Woodpecker chuckle.)

Younger fans of musical dementia know that "Money" was covered twice by The Muppets…first on an episode of "The Mike Douglas Show" by a failed puppet character called Tommy, and later by the garishly memorable Dr. Teeth on a Jim Nabors-hosted episode of "The Muppet Show." This time of year…is the perfect time to hear this crass rap about the almighty dollar.

MONEY by Paul Frees as BIG JIM BUCHANAN Instant download or listen on line. No capcha codes, wait times or money extortion.

A MOST LOVING NOEL - NOEL STOOKEY A' Soalin'

I recently spent a few minutes talking with Noel Stookey (now firmly using his real first name), and the conversation turned here and there on both Peter Paul & Mary, his solo work and Christmas songs. I mentioned my favorite solo song of his ("Sebastian") and he smiled and told me that when he started to write it, it was about a guitar, not a boy! The full story is on his site: right here.

The song itself is streaming on his website (streaming, not for free download) and you can hear it here.

I mentioned that my favorite PP&M album was "Movin'" which I first got on vinyl, in mono. Later, hearing it in stereo on CD, I was amazed at the vivid harmonies, especially with headphones on. "We tried to work it so that each voice expressed something different," he told me. This was a far different concept from what the Everly Brothers or Simon & Garfunkel did, and when it works, it's astonishing. On "Movin'" the best example is "Flora" (aka "Lily of the West") which I mentioned to Noel was the first song I'd heard from that album (not "Puff the Magic Dragon") and the reason I bought it. In a song about a woman and her two rivals, PP&M vividly take up those roles.

I wrote about Noel some time ago in a national magazine article about the world of Christian rock and pop music, which benefitted from some respected names (Noel, B.J. Thomas, Barry McGuire, Gary Paxton) and began to develop its own roster of talent (including Annie Herring, who you can hear on this blog). It was my idea to cover that subject, because I felt it was newsworthy and something the average rock journalist was "too hip" or (too narrow-minded?) to explore. Glad it was actually published. As Dylan would later prove via "Gotta Serve Somebody," it's possible to write "Christian" and not be corny. And in fact to still be Jewish.

Which brings me to one final point about PP&M. They were one of the first groups to offer both Jewish and Christian music on a record album. "Movin'" which was released over 40 years ago, has powerful songs for both Chanukah ("Man Come Into Egypt") and Christmas ("A 'Soalin'). This was a profoundly "mixed" group, not ignoring religion, but celebrating the different cultures. Peter and Paul were Jewish and Christian, and could successfully sing songs about their cultures, and make them accessible to all. Compare that to Simon & Garfunkel, who actually sang nothing about Judaism and everything about churches burning and "Silent Night."

As we approach Christmas, here's "A Soalin'." With its borrowing from "God Bless Ye Merry Gentlemen," it's a song that very much captures the poignance of this time of year, with its reflected joys and sorrows.

Is it possible to find joy in the simple gift of an apple? A pear? A plum? I think you know the answer. If you don't, you're probably asking "why don't I get a full download of that "Movin'" album instead of one live track that Peter & Noel actually have authorized to give away free?" Here, from a concert performance a few years ago, the great Noel Stookey, and his little friend Mr. Yarrow, perform a seasonal favorite…

A' Soalin' - PETER YARROW, NOEL STOOKEY Instant download or listen on line. No capcha codes, wait times or money extortion.

POSITIVELY CRAWL OUT YOUR WINDOW: 2 BOB DYLAN COVERS

Masked and anonymous, nobody knows who sang "Can You Please Crawl Out Your Window" and "Positively 4th Street" imitating Bob on budget 45rpm EP's.

The idea back in the late 50's and up to the mid-60's, was that for the price of ONE hit song by the original artist, you could get SIX hit songs by…nobodies. Labels such as Tops, Promenade, Song Hits, etc. prospered. Sometimes the labels gave a credit to the unknown vocalist, probably on the theory that you didn't even know the name of the one-shot wonder who had suddenly scored a Top Ten hit. In other cases, where the six songs were all by very famous original artists, the label simply didn't list the singer, hoping to trick people into believing they were getting the original artist.

The side of Hit Parader #39's 45 rpm (which opened with "Michelle," then "Tell Me Why" and then "Can You Please Crawl Out Your Window") simply credited the song to Bob Dylan. Meaning as author, not as singer. Heh heh.
Song Hits #38 opened one side with "Get Off Of My Cloud" then "Positively 4th Street" and "Run Baby Run." Once again, nothing about who was doing the actual singing.

In all cases, only the song composers were listed. "Positively 4th Street" was a logical choice for cheapie exploitation at the time. The follow-up to Bob's "Like a Rolling Stone," it slipped into the Top 10 according to both Billboard and Cash Box. "Can You Please Crawl Out Your Window" wasn't nearly as successful, topping out at 58 at both Billboard and Cash Box.

The charts have always been hit and miss with Dylan singles. On Billboard, "I Threw It All Away" languished at 85, "Watching the River Flow" missed the Top 40, "Tangled Up In Blue" missed the Top 30, (as did "Hurricane") and "Gotta Serve Somebody" didn't make the Top 20. However Bob reached #12 for "Knockin' On Heaven's Door" and got to #20 for "I Want You," but by then, sophisticated listeners weren't interested in knock-offs and the once-bustling industry for budget labels offering quantity over quality, went bust. However...thanks to "budget" download companies like eMusic, there are now musicians who specialize in knocking off oldies. Kids who have no idea who originally did "Monster Mash" can surf eMusic, listen to 30 seconds of something that sounds like the real thing, and download it over the original. What was that Paul Simon lyric..."The music suffers/The music business thrives."

OBSCURE BOB DYLAN COVER VERSIONS: Positively 4th Street and Can You Please Crawl Out Your Window Instant download or listen on line. No capcha codes, wait times or money extortion.

OLD 97 and The Right Way to Steal Bob Dylan

First time I heard Old 97's "Champaign, Illinois" (via their guest spot on "The Tonight Show,") I instantly heard, note for note, Bob Dylan's "Desolation Row." And I thought, "WTF…how did they get away with that??"

It turns out…they asked.

Rhett Miller of Old 97 was looking for inspiration. Many songwriters including Bob Dylan ("Blowing in the Wind") start off with somebody else's melody, craft new lyrics, then go back and adapt the melody. Lennon and McCartney were always saying "Let's write a Buddy Holly song…let's write something like Chuck Berry." Miller decided to use Dylan's "Desolation Row" for inspiration. Miller talking: "I'll take this tune I knew inside and out and come up with new lyrics." Dylan used the same formula. Dylan talking: "What happens is, I'll take a song I know and simply start playing it in my head…At a certain point, some words will change and I'll start writing a song."

The next step is usually to strip off the old melody and use the lyrics to inspire a new one. Or at least "adapt" the melody so its origin isn't so obvious. If you don't do either, you're in for trouble. Everyone from Johnny Cash to John Lennon to George Harrison to Dylan himself has either paid a settlement for intentional or unintentional mis-use or suffered embarrassing whispers about their creativity and integrity.

Miller liked the melody for "Desolation Row" so much he didn't want to mess around and alter it: "I was really happy with it, and I thought, this is a sweet little song, and it kind of exists on its own. And then I sat on it forever for fear of legal repercussion."

Ultimately, he took a chance and sent the song over to Bob Dylan's office. Maybe Bob had been to Champaign, Illinois and considered it pretty close to Desolation Row. Whatever, Miller was granted permission as long as Bob got a co-write for having written the music. (I know…The Mighty Dylan has, more than once, NOT asked permission to use somebody else's words, etc. etc. etc.) The bottom line? We all have different views of morality, and the line we don't cross can be set close, or way in the distance. As for "sharing," this blog ain't gonna steal "Champaign, Illinois" off the group's actual CD. Instead, you get the version you can't buy…the live one from Leno's show. Which is still theft, but more of a petit larceny. To quote Bob Dylan (or did he borrow it from The Bible), "Ain't no man righteous, not one."

DESOLATION ROW turns into CHAMPAIGN, ILLINOIS Instant download or listen on line. No capcha codes, wait times or money extortion.

The SWAMP FOX Theme Song - LESLIE NIELSEN

Everyone has a short-list of celebrities they admire, would like to grow up to be like, to become friends with, or simply meet as one might visit a national landmark. For me, Leslie Nielsen was very much on the short-list. I'd written him some letters, and we finally happened to be at the same event. I'm glad to say it wasn't a "great moment," it was better than that; it was a nice moment. He was just a nice, natural, easy-going person and fun to talk to. I could appreciate him like an uncle, a favorite teacher or the family doctor…someone to respect, admire, but who was down to earth and "a regular guy."

Is there anyone who didn't like Leslie Nielsen? Who doesn't remember him with fondness? Depending on your tastes, and when you grew up, he was your hero as Disney's Swamp Fox, or as Commander Adams in "Forbidden Planet," and for girls, the ideal boyfriend via "Tammy and the Bachelor." He was the deadpan doctor of "Airplane!" and the stalwart if inept Frank Drebin of "Police Squad" and the "Naked Gun" movies.

Leslie somehow made a bizarre turn from genial Disney hero, mild leading man and stalwart astronaut to one of the most inexplicably hilarious stars in comedy…doing much more than "playing it straight." He delivered lines in a funny way, and as he aged, his bent good looks helped put that comical spin on them. In "Airplane" (1980) he turned a dumb gag into a memorable one: "Surely you can't be serious." "I am serious, and don't call me Shirley." After many more spoof films, he was comfortable with his new fame as a comic actor, and confidently turned up on talk shows to have a laugh and surprise people with an inappropriate fart noise courtesy of a concealed rubber bladder in his hand.

I have a hand-written letter from Leslie in which he expressed great humility for having fans that appreciated his work, and for those who stuck with him "during the slow times," or the times when the critics were less than kind (as they were for some of the "Airplane" knock-offs he made that spoofed horror films, Mr. Magoo, etc. etc.) He was a solid working actor most of his life. Those in the business knew they could depend on him for all kinds of roles…from a one-handed ex-Civil War general on "Wild Wild West" to a lecherous producer in the Carroll Baker version of "Harlow." He was in "Nuts" with Barbra Stresiand, "Poseidon Adventure," and all kinds of TV roles (from "Murder She Wrote" to "Golden Girls"). He used his fame to mount a one-man stage show as Clarence Darrow. He also narrated documentaries for "National Geographic," and was wonderfully charming in the obscure made-for-TV "Chance of a Lifetime" a romance co-starring Betty White. There must be some people out there who remember his first TV police series, "The New Breed," although only real Leslie fans would've heard of "The Bold Ones."

He was subtle and a bit "offbeat" I suppose. He was not quite as dangerous as a leading man should be, as cartoony as an outright movie clown should be, or as forceful a personality as a "star" should be. What he was, was a great guy. Leslie Nielsen. He was working almost to the end. At age 84, after a few weeks in the hospital with pneumonia, he died peacefully on a Sunday afternoon. Yesterday. He usually signed autographs with a few extra words added: "Luck and laughs."

THE SWAMP FOX THEME SONG

COUNTRY YOSSI - SHLOMO

A Jewish version of Lorne Green's classic, "Ringo?"

Technically, there already is one, because Lorne Greene was Jewish (as was "Bonanza" co-star Michael Landon). His "Ringo" is just not as Jewish as...
"Shlomo," by Country Yossi.
Chanukah has come early this year!

Finally, the Illfolks blog gets to introduce you to Yossi Toiv. He's been around for decades, debuting on radio in 1986, and still at it via WSNR and now streaming Internet archives. He's got his own magazine as well and…while the original vinyl is out of print, albums by Country Yossi and the Shteeble-Hoppers are available on CD from his website: countryyossi.com. The download sample, 'Schlomo,' is from the vinyl version on "Country Yossi and the Shteeble Hoppers Strike Again." Most of his early albums featured Jewish versions of classic pop (Sedaka, Beach Boys, etc.) and country (Johnny Cash).

Jewish novelty songs fall into two categories…orthodox and reform. Orthodox might include Benny Bell, who often sang in Yiddish, as well as Lee Tully, Eli Basse and Mickey Katz who sang in a high-pitched nasal voice that these days might even seem antisemitic. Reform would be Allan Sherman and Shel Silverstein ("What do You Do if You're Young and White and Jewish?") Not to mention comic singers who didn't make being Jewish a part of their act, such as Tom Lehrer.

Country Yossi's stuff is pretty orthodox…if you just light Chanukah candles and eat bagels and lox, you might not get all the references. If you keep the Sabbath, know the last words that differentiate a prayer for bread and a prayer for wine, and can at least sing "Adon Olum" from memory, you shouldn't have much trouble. Although with Country Yossi some songs are serio-comic at best, pulling that old Jewish trick of injecting pathos into the mix.

Months ago I posted an Italian version of "Ringo" so for your convenience, it's re-posted below, along with the latest doff of the cowboy hat to the late great Lorne Green. Enjoy your Kosher-Italian treats...

SHLOMO
RINGO in ITALIAN by Adriano Celantano

KUKLA FRAN & OLLIE - FRAN ALLISON BURR TILLSTROM

Happy birthday to Fran Allison, born November 20th, 1907. And if you think it's a little late, coming nine days after the event, that's ok. Fran's a little late, herself. She died June 13, 1989. However, for many whose sand is predominantly on the bottom of the Grim Reaper's hourglass, she is not forgotten. She was the charming Donna Reed mother-figure or Dinah Shore hostess supervising the antics of her extended puppet family, the most famous being a one-toothed red-headed long-necked "dragon" named Ollie, his balding, fretful clown-friend Kukla, and a befuddled witch named Beulah. Behind the scenes, the puppets were moved and voiced by Burr Tillstrom, whom we also salute as we near the 25th anniversary of his death (December 6th, 1985). He was born Franklin Burr Tillstrom in Chicago, on October 13, 1917.

Kukla Fran & Ollie began their TV career locally in Chicago, but were soon beloved throughout the nation. After their initial fame in the 50's and 60's, a new generation wanted them to return, and so they did in 1975, with new adventures in color, and the release of VHS tapes. In 2009, just when it seemed as if KF&O were a distant and obscure memory, the U.S. Postal Service decided they deserved commemoration on a postage stamp. So now Fran and her friends are helping stubborn, old-school writers to get their letters sent across the street or around the world.

Back in the day, RCA Victor, also home to Howdy Doody, happily issued some 45's on KF&O. Some of these hold up a bit better than the vintage video material does. Your twelve minute download is the double 45 that featured a medley of hits as well as solo songs. It opens with the familiar piano chords and music box theme song. It segues into their cheerful "Here We Are, Back With You Again," and the typical 50's pop of "Mr. K and Mr. O." From there, we get Ollie's ridiculous "Hello Cutie" (he was quite an obvious ancestor to Cecil the Seasick Sea Serpent). Next, "Take a Look at Me," a Broadway-type ballad showing that KF&O also knew adults were in the room along with the kids.

Following a tango (with the now inappropriate suggesting from Ollie "Let's make it a threesome") we get to two highlights. On "Am I Getting Through To You," Kukla and Fran show us the lost art of the comic duet, as Kukla insists on telling anecdotes while Fran feigns paying attention. This was the era of "Go to Sleep" by Arthur Godfrey and Mary Martin, duets between Rosemary Clooney and Jose Ferrer, and some other things perhaps best left in the record box. Our journey back in time ends with "Dragon Retreat," another song that seems much too sophisticated for kids…if too ridiculous for adults. Ollie tells us that he likes to go on vacation to "Dragon Retreat," which is located…no, not in a Disney Never-Neverland, but "in Vermont."

(Update: check the comments section. Just a few weeks ago the first collection of VINTAGE KF&O material was released on DVD.)

Those unfamiliar with the characters may not get so much out of the download. You guys won't have the familiarity and nostalgia that makes this kind of thing not only enjoyable but downright lovable. So if you didn't spend some early time with Kukla, Fran and Ollie, their songs probably won't make much of an impression. But for those already smiling just seeing the photos of KF & O, this stuff will definitely be O.K.

KUKLA FRAN & OLLIE

LEE HAZLEWOOD AND ANN-MARGRET ON THE DARK END

After smoldering around Nancy Sinatra, Lee Hazelwood moved on to another sex symbol, Ann-Margret. This version of "The Cowboy and the Lady" yielded an album by that name, but no truly memorable hit…although "Dark End of the Street" is pretty vivid stuff.

The mentally uneven James Carr originally recorded it in 1967, and Elvis Costello breathed new life into it (while saluting king James' version) by covering it on his "Kojak Varieties" CD.

Most versions of this tortured torch ballad have been sung by a guilty man (Joe Tex and Percy Sledge also covered it) or tormented woman (include Aretha Franklin and Linda Ronstadt). But duos? Not too often. In fact there are only two that are well respected.

At this point it's hard to say who got there first…Hazlewood and Ann-Margret, or Dolly Parton and Porter Wagoner. But the clear favorite lasting the test of time is the former. They're a lot grittier and sexier about it. Besides, how in the world could you sneak Dolly Parton anywhere without people knowing??

Eventually Lee found other singing partners, using Nina Lizell and Suzi Jane Hokom and not Stockholm-born Ann-Margret (Olsson) on his 1970 "Cowboy in Sweden" album. He even worked his way back to Nancy Sinatra (you'll find the sensational "She Won't" elsewhere on this blog). But the combo of Lee and Ann-Margret deserves more acknowledgement, and so here's a sampe of Lee Ann rhymes...

DARK END OF THE STREET

BOB CROSBY - You're Bound to Look Like a Monkey

While everybody loves Bing Crosby (even Kate Bush referenced him in her adorable "This Christmas Will Be Magic Again,") the Illfolks blog prefers Bob Crosby. And the blog also prefers nasty put-downs to most any damn Christmas song!

Der Bingle (1903-1977) had three older brothers (all died before Bing did). Bob was his much younger brother (1913-1993). He was a singer in various groups and bands through the 30's, ultimately helming his own Bob Crosby Orchestra, and for smaller gigs, The Bob-Cats. Bob and his Bob-Cats turned up as musical relief in various light movies ("Let's Make Music," "As Thousands Cheer," "Pardon My Rhythm"). CD compilations of vintage Dixieland jazz are bound to have his best known hits, "Big Noise from Winnetka" and "South Rampart Street Parade."

In the 40's Bob starred in his own radio show while scoring some 78 rpm hits (including a few duets with Bing). He had a daytime TV show in the mid 50's in America, and a late night show in Australia in the mid 60's. The much more iconic Bing was still active in the 60's, and even lived long enough to link himself to David Bowie via the infamous recording of "The Little Drummer Boy."

Bob's hits are mostly forgotten, or covered by others now better known than he is. Here we shine a light on his sage and prophetic novelty tune, "You're Bound to Look Like a Monkey." Since this is a music blog, and fairly politically correct, the photo illustrations of famous homo sapiens who look simian are restricted to the obvious. And make up your own joke about Ben Stiller.

YOU'RE BOUND TO LOOK LIKE A MONKEY WHEN YOU GROW OLD

GRIMSBY! "Up the Mariners" by PISCES

Around the world, say "Grimsby" and hear "huh?" At best, some know that "Grimsby" is a song by Elton John, one with a silly, almost nelly melody and lyrics that seem to be about a boat? A grim bee? A school? Some asshole named Grimsby? Or Grimsby's asshole??

In "Grimsby," Elton's lyricist Bernie Taupin was actually babbling about a port city in England. At the time he wrote it, there were still fish in the nearby waters. Now that most fish is farm-raised, Grimsby's in decline. Despite the poverty and the abandoned buildings that make the song "Grimsby" nostalgia only, the people of the town still have an anthem to sing: "Up the Mariners!" The Mariners is their football (soccer) team, one that has NOT suffered a decline in the past 30 years. No, it's maintained the same level of mediocrity by never winning a championship.

Grimsby seems to be a strangely mis-managed place, one that did not move toward fish-farming (plenty of room for it, and lots of empty areas that could've been filled with tanks). They also failed to maintain tourist interest (actually destroying some beloved landmarks that were in need of minor repair). They also…well, you can read more on the miseries of the town via: craphousegrimsby.blogspot.com.

Over here, you merely get a copy of "Up the Mariners," because it's such a fine example of fan folly and boisterous hooligan-logic. What puts it ahead of various other cheers and anthems for pro or even college or high school teams, is a) they haven't given up singing it despite 30 years of failure, and b) the singers are ignoring a very obvious double meaning. And how could they, when they live in the very country that gave us "Up the Khyber" (a ribald "Carry On" movie) and "Up Je T'aime" (a ribald Frankie Howerd parody of the Gainsbourg-Birkin groan single). Most anyone hearing "Up the Mariners" would get a mental picture that, well, might look like the Photoshop job above (half-hearted apologies to Beckham and Devitt).

Yes, these days the only "mariners" in Grimsby are guys who trip over themselves on a dirt field. But keep on singing, guys, and never give up! Although the group Pisces, who recorded this thing, apparently did. Too bad, 'cause they're not so terrible, and sound a bit like some 3rd rate British invasion band with some guy named Freddie or Gerry or Deezy or Dozy singing lead…although I think these guys shagged more fish than they did birds.

UP THE MARINERS! The (craphouse) Grimsby football anthem! For more on them, and their town, check craphouseGrimsby.blogspot.com Listen on line or download. No wait time, capcha codes, porn ads, or demands to pay a premium to the download service that hasn't licensed the music and laughs all the way to the bank about it.

SONG OF THE MOLE - MARC EITZEL

"Song of the Mole" sounds like it's about some senile music forum member whose age and IQ are both about 60, and who has nothing better to do than drool about getting mp3 downloads of music that was a waste of vinyl when it came out 30 years ago. Watta waste of time, but a mole can't see too clearly, and thinks he's going to reclaim his youth by listening to the oldies over and over again, in some delusional form of deja vu. "Song of the Mole" sample lyric:

"He was so pissed off he was dying, he would only play Hall and Oates.
He said if my days are numbered, I'm going to blast the world with Hall and Oates."

Remind you of anyone? There are actually retired people out there who have declared that while "on the government teat," they will now devote the rest of their lives to…giving away somebody else's property! With cries of "blogging saved my life," and "make good use of the time that's left," many a myopic mole spends his life at a computer upping and re-upping and up-chucking Hall and Oates, or other stuff everyone already knows about, and which is in print, and could still earn royalties for the "beloved" artists. But backward mole-asses stick to their notion that they should take credit, Paypal donations and nice comments in the name of Hall and Oates and the others they rip off. Laughably, they have lots of excuses and rationalizations when the plain truth is that they're old enough to know better. Or are they really so old they've gone senile and no longer know better! The best they can do is mumble vague weasel words like "the music industry needs a new paradigm," or "there must be a way for artists to prosper while fans get all the free music they feel entitled to." They don't actually come up with a solution. They're part of the problem, not the solution.

The solution most artists are comfortable with is giving away a few songs (usually on "My Space" or their website, or via an Amazon.com promotion) or trusting that almost anyone who isn't senile, can deduce if they like a song by hearing 30 seconds of it on iTunes. Which they can hear over and over and over (deja vu again) until they think it's worth buying or not.

If it's "not," because you don't think it's worth the money, then don't blame the artist for not thinking you deserve it free. That's just insulting. If you don't want to buy it, fine, listen to something you did buy. We all have more music than we need anyway. You could spend quite a lot of time re-playing this one Mark Eitzel track, enjoying the music, and finding your own interpretation of the lyrics. In the old days we'd often grow to love an album because we did buy it, didn't like it on first or second listen, but since we didn't have much else and paid for it, gave it a few more chances. And it grew on us. Today, another bad thing about the mass downloading is that it gluts us, we haven't the time to give music a chance to grow on us, and we're too busy with the freebies to buy, support and respect more than a few artists.

I found Eitzel the Internet way. While messing around with 30 second samplings on my monthly subscription to eMusic, I heard his cover of "Rehearsals for Retirement" by Phil Ochs. The 30 seconds were good, so I bought and downloaded the whole song and began checking Marc's other work. Emusic charges less than 50 cents a song, so Eitzel is not as lucky as Ochs. The music biz has changed and the odds of making any kind of a living are worse. In Phil's day, he had the support of Jac Holzman (Elektra) and then Jerry Moss (A&M) who bankrolled him, supported him and promoted him…and he also benefitted from the "evil" organizations that sent him royalty checks that kept him going when he couldn't tour and had lost inspiration.

Just what the future is for guys like Marc Eitzel remains to be seen…but maybe not heard. Music is easy to steal. Governments haven't yet enforced laws on the Internet because of confusion over "free speech" vs "copyright" (capitalist governments, that is, the ones who are seeing more and more people out of work, including members of the entertainment industry).

And so guys like Eitzel have been taken down a notch. The blogger who gives away the music is as much a star as the artist. The artist is forced to take a dull day job like the blogger. And at the gig, the artist has yet another job; selling t-shirts after a gig. Which isn't necessarily a bad idea. If Marc Eitzel turns up at a club near me (which I'd only know about if he or his manager made sure to pay for posters and ads), I might go (if the ticket price is FAIR), and if I'm feeling in a position of power and pity, I'd certainly buy a t-shirt. But only if it had "Song of the Mole" on it, is not too expensive, and is brand new and clean (not Spotified.)

Song of the Mole Instant download or listen on line.

DEJA VU pitty avenue csny teena marie aventura

The best definition of "Deja Vu" is: "the unpleasant sensation that something you didn't like is happening to you all over again."

The experience of "Deja Vu" is usually tinged with alarm and apprehension, and as soon as your brain has sensed a repeat of something awful that's already happened, you think to yourself: "Make it STOP."

Psychiatrists theorize "Deja Vu" arises out of boredom. "Deja vu" is what happens when a dull mushroom mind relies on hallucinations to feel alive. It's a pathetic illusion. Deja vu tries to make something supernatural out of the mundane. "Oooh, I've had this feeling before!" Yeah? And wasn't it useless the first time?

Your download is eight examples of "Deja Vu." A few of them are in foreign languages: Aventura and Pitty. A few are fairly well known: CSNY, John Fogerty and Iron Maiden. Then there's Teena Marie, the Yeah Yeah Yeahs and Beyonce teamed with Jay Z. In almost every case, the singer makes the case for Deja Vu being creepy and unpleasant. At best, ("Deja vu all over again") the experience is a bad joke.

Psychiatrists seem to agree that "Deja vu" is some kind of psych disturbance, and while it momentarily has a tinge of seeming groovy or fab, the feeling's so creepy you end up saying "glad it's over, and I'm not eager to make the same mistake."

Deja Vu?

WILLIAM SHATNER does CEE-LO : "FUCK YOU!"

Following "Song of the Mole" and a collection of "Deja Vu," nothing could be more appropriate than "FUCK YOU." (You were expecting "NOBU"?)

The original was sung by Cee-Lo, but as he did with some of the numbers on "Has Been," most especially "Common People," William Shatner's made a strong case for ownership.

While we wait to see if he'll actually release this as a single, or put it on "Has Been 2," here's the censored recitation from the talk show hosted by George ("you mean Paul Rodriguez wasn't available?") Lopez. Hold on (it's about 90 seconds) and you'll hear the UN-censored version thanks to a decent audience recording done with Bill's permission.

Wish I could say I've spent an hour or two chatting with Shatner, but I've only spent that much time with one of the original "Star Trek" cast members. One who, come to think of it, loved trashing the guy. (No, not Walter or George…I don't hang with mere ship hands!)

Shatner's a piece of work, love him or not, and if you'd care to be honest, his musical forays have been memorable. He was hip for his time when he went on talk shows narrating Harry Chapin's "Taxi" and Elton's "Rocket Man," although much of it holds up only as well as some equally questionable episodes of "Twilight Zone" or "Star Trek." His album "Has Been" needs no apologists; it's that good.

So "FUCK YOU" or "download FUCK YOU." It's probably either the former or the latter, and you know who you are!

[box net link removed] FUCK YOU censored and uncensored by William Shatner star of "Shat My Dad Says"

UPDATE Dec 19th: Sorry, I got a FUCK YOU on this one. As I mentioned in the first update, the music link was removed on December 10th. Then came a complaint to Blogger itself on the 13th It was probably a "bot" sniffing around for illegal copies of the actual Cee-Lo song. Shit happens. A while back a 30 year-old out-of-print parody of a Rolling Stones song I posted was mistakenly stopped by an IFPI bot that thought it was a real Rolling Stones song. I didn't put it back up as the bot would just make the same mistake. Check YouTube and you'll find somebody with an upload of Shat rappin' on the Lopez show.

Bristol Palin BRISTOL STOMP - Len Barry

Bob Dylan said, "We live in a political world," and Brother Theodore said, "In this best of all possible worlds, everything is in a hell of a mess." And these points of view are combined in the Palins. Sarah. Bristol. Willow. It's a never-ending nightmare. For those who thought political stupidity and messy incompetence ended with Dubya leaving office…the sad fact is that Dubya's 8 years are over, but it looks like the Palins will be around for a lifetime.

It's now reached the point of gunfire. A few days ago, a 66 year-old man in Wisconsin lost his mind while watching Bristol Palin on "Dancing with the Stars." He grabbed a shotgun and blew out his TV set. People magazine's website explained: "Palin has been a polarizing figure on the show, having advanced in the competition despite consistently receiving the lowest scores from the judges…"

Sarah Pain has advanced from a cinder in the public eye to just about blinding it, despite having been a loser in the last election, and showing her contempt for her constituents by walking out on her governorship in order to make more money via lecture tours, books, teasing threats to run for the Presidency, and polarizing quips that call attention to herself while antagonizing millions.

She was never shy about bringing her idiot spawn into it…from having unwed mother Bristol cradle her bastard on national television during the election, to knowingly starting a publicity-grabbing fake feud with David Letterman by being the only person in the world to think that a Dave joke about Bristol's inane sluttiness was aimed at Willow (not of legal age). Well, we now see that Willow is hardly anyone's idea of pure.

Shortly before Bristol reached the "Dancing with the Stars" finals (huge ratings every time the controversy ratcheted up a notch), celebutard Willow made the news by sending out obnoxious twitters about a classmate: "Haha your so gay…what I've seen pictures of, your disgusting…my sister had a kid and is still hot...You such a faggot." Bristol read this piss from little Sis, and joined in: ""You're running your mouth just to talk shit...You'll be as successful as my baby daddy." The latter was a shot at her ex-boyfriend, who was trying to run for mayor of Wassila, and doing the talk show circuit, taking humiliating mocks from Jay Leno and Bill Maher.

And so it goes. To quote Kander, or was it Ebb, "Whatever happened to class?"

"Whatever Happened to Class," the best song in the musical "Chicago," could've been your download, but the painfully over-publicized (to the point of gunfire) Bristol Palin romp to the finals of a moronic show that shouldn't even be on the air, leads to "Bristol Stomp" by Len Barry. Len Barry (nee Leonard Borisoff), was the lead singer for The Dovells, the group that made "Bristol Stomp" a hit. On his own, he scored a blue-eyed soul smash with "1-2-3," but didn't have 4 or 5 more. Two years ago he co-wrote a novel, "Black-Like-Me" from the indie Bank House books company. For more info on it you can check Amazon.com BUT…for Len's imagined soundtrack to a film version of the book, go to http://www.lenbarry.com/ and click the link to the free download/listening page.

Illfolks already posted Jackie Kannon's song "Sarah," which had the nice line, "all day long she sits and shits." I'll skip Groucho Marx's version of "Tit Willow," so here's "Bristol Stomp." In England a "pair of Bristols" is a euphemism that was used in probably every other episode of "The Benny Hill Show," but Bristol is just a place in Philadelphia (as it is in England). And while the moon-faced young Palin continues to annoy, as does her smirky mom, let's say that we don't mean "Bristol Stomp" literally. Although millions are feeling very flattened by the three P's infecting America's pod: Willow Palin, Bristol Palin, Sarah Palin…and there are plenty more where they came from.

BRISTOL STOMP -- Len Barry version Listen on line or download. No wait time, capcha codes, porn ads, or demands to pay a premium to the download service that hasn't licensed the music and laughs all the way to the bank about it.