Ry Cooder - Jesus On The Mainline

This week’s Spiritual Sunday selection is a song that I have performed since the 1970s and I first heard Ry Cooder do it on his “Paradise and Lunch” LP from 1974. It is credited on his album as being a traditional tune; however, the lyrics indicate that it probably was written in the 1920s or 1930s.

Other songs with similar themes that incorporated the technology of the day into a spiritual theme were from that era and it would not be unreasonable to believe that this song from the blues tradition was also composed at the same time. If my timeline of its writing is correct, it would have only been in the public domain had its copyright not been renewed 28 years after its initial publication - which may be a reasonable theory on this tune.

The earliest known recording of “Jesus on the Mainline” was Alan Lomax’s recording of Mississippi Fred McDowell in the early 1950s. Since that time, numerous artists have interpreted this song with it crossing over into the country genre with Wynona Judd and Randy Travis both recording it. I would venture to say that most of recent versions probably could be traced back to Cooder’s 1974 version – which is a direct descendant of Fred McDowell’s recording.

Ry is joined on this 1987 video by The Moula Banda Rhythm Aces. The interesting instrument he is playing is a Vox Mando-guitar that has a similar range to a mandolin, but is really a small 12-string guitar tuned an octave above a normal guitar. Some prefer to tune it one step down from an octave (DGCFGAD) to release the tension on the guitar.

Vox Mando-Guitar

Unlike a typical 12-string guitar, there are usually no octave strings utilized and all are in unison like a mandolin. George Harrison used on the Beatles version of Buddy Holly’s “Words of Love”; however, it appears that George added octave strings to get the unique 12-string sound. By the way, Ringo is playing a packing case on this song that appeared on the LPs “Beatles for Sale” and “Beatles VI” (in the US, Canada, and Japan).

Beatles – Words of Love – Remastered

Demo of the Vox Mando-guitar

Many folk may be unaware of the name Ry (short for Ryland) Cooder, but they have heard his music over the years. He first became well known with his session work with the Rolling Stones in the late 1960s playing on the “Let it Bleed” and “Sticky Fingers” albums as well as the “Jamming with Edward” album that featured Cooder along with Mick Jagger, Charlie Watts, Bill Wyman, and session keyboardist Nicky Hopkins, who was also a Stones’ sideman.

He is probably best known for his work on film soundtracks – the first being “Performance,” starring Mick Jagger. His music is throughout the classic story about James –Younger gang, “The Long Riders,” and he provided all of the slide guitar parts for the movie “Crossroads.” These are just a few examples of the multitudinous film projects for which Ry has been associated.

Rolling Stone has named him as number 8 on the top guitarists of all time. The first seven include in ascending order is Jimi Hendrix, Duane Allman, B.B. King, Eric Clapton, Robert Johnson, Chuck Berry, and Stevie Ray Vaughan. He is followed by Jimmy Page at 9 and Keith Richards at 10 – so I would say that Ry is in pretty good company. He also was awarded four Grammy Awards for his work on various compilation projects. In 2000, Queens University in Kingston, Ontario awarded Cooder with an honorary doctorate.

Solo Performance from 1973 – Jesus on the Mainline

The Byrds: The Notorious Byrd Brothers

Back in 1967, The Byrds recorded what some individuals consider their finest LP – an album that coincided with the band’s internal conflicts that sealed the fate of certain members. Today’s spotlight song, “Goin’ Back,” was one of two Gerry Goffin/Carole King compositions that appeared on "The Notorious Byrd Brothers" album.

David Crosby felt that recording material written by someone other than the band was a step backwards and was opposed to their inclusion. In addition, Crosby’s controversial song “Triad” was recorded during the session and was ultimately displaced from the original release by “Goin’ Back.” By the way, “Triad” was eventually included on the CD version of this release in the late 1990s.

To make a long story short, Crosby’s outbursts, failure to appear for recording dates, pontifications during concerts, and other negative behavior was creating a wedge between him and the two other principals, Roger McGuinn and Chris Hillman. In addition, percussionist Michael Clarke’s drumming ability came into question and he was especially having issues with Crosby and he quit the band. Session drummers Hal Blaine and Jim Gordon added percussion in Clarke’s absence.

Tensions with Crosby having reaching a head, Roger McGuinn and Chris Hillman went to Crosby’s house and fired him from the band. Meanwhile, Michael Clarke returned to the band and ex-Byrd Gene Clark rejoined the band after quitting a year earlier. Although not credited on the LP, it is rumored that Clark provided background vocals to several tunes including “Goin’ Back.” Clark can be seen lip syncing with the band on the Smothers Brothers Show on “Goin’ Back,”

Smothers Brothers Performance

Gene Clark’s fear of flying, that lead him to leave the group in 1966, resurfaced and he quit the Byrds a second time. Additionally, Hillman and McGuinn fired Michael Clarke following the release of the LP and the Byrds were reduced to two original members. As for Crosby’s material, McGuinn and Hillman reworked his three songs and these appeared on the LP. One of these, “Dolphin’s Smile” is one of my favorite cuts.

Dolphin’s Smile

Further controversy arose after the album’s release as the cover has Chris Hillman, Roger McGuinn, and Michael Clarke standing at the windows of a horse stall. A horse appears in the fourth window leading many people, including David Crosby, to claim that the horse represented him. McGuinn vehemently denies this allegation stating that, “If we had intended to do that, we would have turned the horse around.”

“The Notorious Byrd Brothers” was the first prerecorded cassette tape that I ever purchased and it was one I listened to quite frequently. I bought it F.W. Woolworths shortly before I went away to college in 1973. The album has great harmonies and showcases the direction the band was moving with a more country flavored side. Is it my favorite LP by the Byrds? No, that would be “Fifth Dimension.” It is, however, my second favorite and deems to be in this week’s album spotlight.

Playlist of the Entire Album

Dr. Feelgood & The Interns: Mr. Moonlight

Well this wasn’t a hit for anyone, but if you had a copy of either the “Beatles for Sale” or “Beatles 65” albums, you are familiar with the Fab Four's version of “Mr. Moonlight.” The song was originally recorded in 1962 by Dr. Feelgood and the Interns, and it was the flip of their eponymous single “Dr. Feelgood.”

Released on the OKeh label, I have seen this single with three different commercial versions of the label. For those who care, one variation is the yellow OKeh label with black print and two semicircles. A second variation is the same design as the yellow; however, it has a dark purple label with gold lettering. The third variation is a dark purple OKeh label with gold lettering and no semicircles or lines and has “45” in a larger typeface. OKeh had a later version of the same design featuring a medium purple label with white text.

I am not sure which version was the original, or if by chance CBS’ various pressing plants across the country were simultaneously issuing records with different labels. My version of the single is the third variation mentioned above. I got my copy of this single when I worked at WCIR in the 1980s.

Periodically, the station would pitch singles that they no longer played. Always inquisitive about what was no longer valued, I rescued this particular record from the trash heap. Unfortunately, it had taken the abuse of its former owner whose name adorns the label. At some point, a disc jockey, who had long left the region, had bequeathed it to the station and my curiosity saved it from the landfill.

My first experience with the song was by the Beatles in the early 70s when I found a copy of the German import of “Beatles for Sale.” Much later, I added “Beatles 65” to my collection – an album similar to the “Beatles for Sale” configuration – it too has “Mr. Moonlight.” “Beatles for Sale” was released in most countries. Due to union restrictions regarding album photography, the Australian version had a different cover design.

The German version of "Beatles for Sale" on the Odeon-EMI label.

In the US and Canada, the slightly different “Beatles 65” was released and featured only 11 cuts as opposed to the 14 found elsewhere. On the Capitol release, “Kansas City/Hey, Hey, Hey,” “Eight Days a Week,” “Honey Don’t,” “Every Little Thing,” “I Don’t Want to Spoil the Party” and “What You’re Doing” were eliminated.

Mono pressing of "Beatles 65" on US Capitol.

Added to the North American release was the double sided hit single: “She’s a Women” and “I Feel Fine,” which was not included on “Beatles for Sale.” The songs eliminated from “Beatles 65” eventually were included on the subsequent Capitol release of “Beatles VI,” which included three additional songs from the British version of “Help”; “Yes It Is,” the flip side of “Ticket to Ride”; and “Bad Boy,” which was intended originally as a recording only for release in North America.

New Improved Full Dimensional Stereo US "Beatles VI"

I am aware of one other country that released a version of “Beatles 65.” In Japan, the LP was re-titled as “Beatles 5.” In addition to this album and its follow-up “Beatles VI,” the Japanese also simultaneously released “Beatles for Sale.” It has been said that Japan released more different Beatles albums than any other country. I happen to have the Japanese “Beatles VI” LP in my collection.

Besides being gypped by only having 11 cuts, “Beatles 65” was not released as a gatefold album as was “Beatles for Sale.” In addition, the interesting liner notes written by Beatles’ publicist Derek Taylor are also missing. These give some insight into the Beatle’s recording of “Mr. Moonlight.”

According to Taylor, “There are few gimmicks or recording tricks, though for effect, the Beatles and their recording manager George Martin, have slipped in some novelties. Like Paul on Hammond organ to introduce drama into Mr. Moonlight, which also, and for the first time, has George Harrison applying a thump to an elderly African drum because Ringo was busy elsewhere in the studio, playing bongos. George's thump remains on the track. The bongos were later dropped.”

The Beatles really capture the spirit of the original, and it remains one of my favorite cuts from “Beatles for Sale” and “Beatles 65.”

The Beatles’ Version

Nick Drake: Pink Moon

I will have to give credit where credit is due as my oldest brother Chuck made the suggestion that I feature “Pink Moon” as my TV Thursday selection. When Volkswagen decided to use Nick Drake’s song for its Cabrio TV commercials, it brought needed exposure to an artist that up to that point who only had a cultic following in the U.S. Even in the U.K. where he had a greater notoriety, Drake's popularity would not begin to grow until the next decade following his death by accidental overdose in 1974.

The song employs a modal tuning that adds a suspended fourth. Tuned as CGCFCE (low to high) and capoed at the second fret to play in the key of D, the chordal structure gives the song its unique character.

“Pink Moon,” along with the album of the same name, was the third and final recording by Drake. Recorded in October 1971, the LP was released in February 1972. The entire album was recorded in two 2-hour sessions on two consecutive days with the sessions ending about 2:00 AM on each day.

The entire album is noticeably sparse with Drake playing acoustic guitar and singing with overdubs of Drake playing piano. Reportedly, Drake hand delivered the master of the LP to Island Records without speaking to anyone – just dropping off the package. It sat in the receptionist area until it was discovered by staff during the following week.

Although it sold less than his first two LPs, the “Pink Moon” album has become his defining piece. Drake, who suffered from chronic depression, also had great difficulty in communicating with others and a lack of convention relating to nonverbal cues. This may indicate other issues such as Asperger’s Syndrome which often manifests itself in problems relating to social interaction and communication – especially in the realm of nonverbal communication.

Drake never lived to be diagnosed with this autism spectrum disorder that did not have a standard diagnosis until 20 years after his death. Individuals with Asperger’s Syndrome are quite brilliant – Hans Asperger, who first identified the disorder in 1944, referred to the children he had studied as “Little Professors.” Whether Drake had AS or not is moot, but it may serve to understand his genius in light of his difficulty to adapt to social situations.

Volkswagen Commercial

Lyrics

I saw it written and I saw it say
Pink moon is on its way
And none of you stand so tall
Pink moon gonna get you all
It's a pink moon
It's a pink, pink, pink, pink, pink moon.

Don McLean: American Pie

It was on this date 51 years ago that Buddy Holly, Richie Valens, and the Big Bopper were killed when their chartered plane crashed just outside of Mason City, Iowa. They had just finished performing at the Surf Ballroom at Clear Lake, Iowa - an unscheduled stop on their winter tour. The next performance was to be in Moorhead, Minnesota. 

Due to problems with the tour bus, Holly charted a plane intending to fly himself and the two members of his band, Waylon Jennings and Tommy Allsup. J.P. Richardson (The Big Bopper), who was suffering from the flu, asked Jennings for his seat. Richie Valens, who had never flown in a small plane before, asked Allsup for the remaining seat, and Valens inclusion was decided by a toss of a coin.

An old college buddy, Stuart Shepard, worked in Lexington, KY with Bob Hale - who tossed the infamous coin. To read Hale's firsthand account about that infamous evening, see http://chicagoradiospotlight.blogspot.com/2008/04/bob-hale.html.

An FAA investigation concluded that the crash was caused by poor weather and pilot error. Twenty-one year old Roger Peterson had not been satisfactorily warned about the weather and he had not yet passed his instrument rating. This alone should have prevented him from flying during these conditions.

In addition, the plane in which he was piloting had instrumentation that reacted in manner opposite to the craft he normally had flown during his instrument training – leading to his confusion and spatial disorientation. It is thought that he believed that the plane was climbing when it was actually descending. The injuries were so severe, the coroner concluded that all four died upon impact.

Dave Robbins, the Director of the Aviation Program at Mountain State University, tells me that this high profile case was one of a series crashes that led to changes making the FAA Instrument Rating requirement mandatory for all commercial pilots.

Twelve and a half years later, Don McLean released “American Pie” on his second album and gave us the phrase to remember this solemn occasion as “The Day the Music Died.”

When I worked in radio, “American Pie” became known as a bathroom song – which meant it was long enough to leave the control room, use the facilities, and get back to the board before the record finished. There were a number of these including "Layla," the "Wreck of the Edmund Fitzgerald," and a few others. This rather lengthy song with the cryptic lyrics charted at #1 on the US and Canadian Top 40 and Adult Contemporary charts and charted at #2 in the UK.

I remember the first time I heard this song. It was on a November evening in 1971. At bedtime, I was listening to KQV-1410, Pittsburgh’s Top 40 radio station. Lying in bed, I remember getting up out of bed, and with rapt attention, I hung on every word. I didn’t know the name of the tune at the time, but within days – it was all over the radio and I bought the 45 rpm single – which had the lengthy tune (8:33) split into parts one and two.

There have been many interpretations concerning the song, but McLean has repeatedly refused to discuss the meaning of the lyrics. According to a published letter from McLean, “As you can imagine, over the years I've been asked many times to discuss and explain my song ‘American Pie.’ I have never discussed the lyrics, but have admitted to the Holly reference in the opening stanzas. I dedicated the album American Pie to Buddy Holly as well in order to connect the entire statement to Holly in hopes of bringing about an interest in him, which subsequently did occur.”

In 1993, McLean reinforced his silence on the matter. “You will find many interpretations of my lyrics but none of them by me . . . sorry to leave you all on your own like this but long ago I realized that songwriters should make their statements and move on, maintaining a dignified silence.”

I can remember discussing the meaning of this song with family and friends and thought I had a pretty good understanding of McLean’s intent; however, I have also seen many published interpretations that run the gamut from the sublime to the ridiculous. One attempted to analyze every word in the song – which destroyed the entire poetic license found within this #1 record.

I will honor Don McLean by not attempting an interpretation at this point and let the song speak for itself.

Lyrics

A long, long time ago
I can still remember how that music used to make me smile.
And I knew if I had my chance,
That I could make those people dance,
And maybe they'd be happy for a while.

But February made me shiver,
With every paper I'd deliver,
Bad news on the doorstep...
I couldn't take one more step.

I can't remember if I cried
When I read about his widowed bride
But something touched me deep inside,
The day the music died.

So, Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And good ol' boys were drinking whisky and rye?
Singing this will be the day that I die
This will be the day that I die

Did you write the book of love?
And do you have faith in God above?
If the Bible tells you so
Do you believe in rock n’ roll?
Can music save your mortal soul?
Can teach me how to dance real slow?

Well I know that you're in love with him
'Cause I saw you dancing in the gym
You both kicked off your shoes
Then I dig those rhythm and blues

I was a lonely teenage broncin' buck
With a pink carnation and a pickup truck
But I knew that I was out of luck
The day the music died

I started singin'...

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And good ol' boys were drinking whisky and rye?
Singing this will be the day that I die
This will be the day that I die

Now for 10 years we've been on our own
And moss grows fat on a rolling stone
But that's not how it used to be

When the jester sang for the king and queen
In a coat he borrowed from James Dean
In a voice that came from you and me

And while the King was looking down
The jester stole his thorny crown
The courtroom was adjourned
No verdict was returned

While Lennon read the book of Marx
The quartet kept practice in the park
And we sang dirges in the dark
The day the music died

We were singin'

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And good ol' boys were drinking whisky and rye?
Singing this will be the day that I die
This will be the day that I die

Helter Skelter in a summer swelter
The birds flew off with the fallout shelter
Eight miles high and falling fast

It landed foul on the grass
The players tried for a forward pass
With the jester on the sidelines in a cast

Now the halftime air was sweet perfume
While sergeants played a marching tune
We all got up to dance
Oh, but we never got the chance

'Cause the players tried to take the field,
The marching band refused to yield.

Do you recall what was revealed,
The day the music died?
We started singing

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And good ol' boys were drinking whisky and rye?
Singing this will be the day that I die
This will be the day that I die

There we were all in one place
A generation lost in space
With no time left to start again
So come on Jack be nimble, Jack be quick
Jack Flash sat on a candle stick
'Cause fire is the devil's only friend.

As I watched him on the stage
My hands were clenched in fists of rage
No angel born in hell
Could break that Satan's spell

And as flames climbed high into the night
To light the sacrificial rite
I saw Satan laughing with delight
The day the music died.

I met a girl who sang the blues
And I asked her for some happy news
But she just smiled and turned away

I went down to the sacred store
Where I'd heard the music years before
But the man there said the music wouldn't play

And in the streets the children screamed
The lovers cried and the poets dreamed
But not a word was spoken
The church bells all were broken

And the three men I admire most
The Father Son and Holy Ghost
They caught the last train for the coast
The day the music died

They were singin'

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And good ol' boys were drinking whisky and rye?
Singing this will be the day that I die
This will be the day that I die

Wolfstone: Braes of Sutherland

On this traditional Tuesday, I feature the music of Celtic rock band Wolfstone and the “Braes of Sutherland.” From Scotland, Wolfstone marries the highland fiddle, the tinwhistle, and pipes with electric keyboards, crashing drums, and power chord guitars.

This is a bit heavy for our usual Tuesday fare, but not as heavy as you might experience with other bits of Wolfstone’s music. Chris MacKenzie for The Living Tradition opines that this is the most traditional sounding song on the 1994 “Year of the Dog” album – and that it is.

The protagonist declares that he must bid adieu to the “Braes of Sutherland.” Sutherlandshire along with Caithness are the northernmost regions of the island of Britain; however, beyond Britain, Orkney and the Shetland Islands extend Scotland even further where the North Sea and North Atlantic meet.

The word Brae, pronounced bray, is most certainly a derivation of the Old Norse word for brow and is used in reference to the hills – so the “Braes of Sutherland” are the hills of Sutherland.

Lyrics

Farewell you braes o' Sutherland,
I'll ne'er see you no more
For I must take a strangers path
And leave my native shore
My friends and my acquaintances
I'll give you now my hand
For I will ne'er be back again on
The Braes o' Sutherland

To the ridges of the old Ben More
I bid a fond adieu
To Rosehall and to Bonar Bridge
I'll leave my heart with you
To the rolling banks o' the Oykel
And to Dornoch's gentle sands
I wish you well my comrades there
On the Braes of Sutherland.

Farewell you roads to Spinningdale,
This chapter now will close
To the ghosts that lie at Carbisdale
And the downfall of Montrose
To Ardgay and to Invershin,
No More I'll walk your sands
For I have to leave my memories
On the Braes of Sutherland

I now will leave my native home
For the shores of America
My love I leave behind me now
I can no longer stay
The orders from the castle came
By the Duke's right hand
I fear that I must leave thee there
On the Braes of Sutherland

Jefferson Airplane: Wooden Ships

Today’s cover tune by Jefferson Airplane was released six months after the original by Crosby, Stills, and Nash on their self-titled album. “Wooden Ships” began as an instrumental written by David Crosby on his boat off the Florida coast in May 1968, within a month Stephen Stills added most of the lyrics with others to follow by Paul Kantner of Airplane.

Most people view this song (I had as well) as post-nuclear, post-apocalyptic narrative about two enemies meeting in the aftermath. While the lyrical content is adaptable to this message, that was not the intended storyline for this song.

Stephen Stills indicated that the song is really written about the holocaust and the ending of World War II. There is much symbolism in this song that many people have attempted to decode; however, until Stills, Kantner, and Crosby give us more information concerning the specific imagery of the lyrical content, it is best not to speculate.

The initial release of “Wooden Ships” appeared on the “Crosby, Stills, & Nash” album that was released in May 1969. Kantner’s contribution was omitted for contractual reasons and later was added on subsequent reissues of the album. The Jefferson Airplane version hit the stores in November 1969 and showed an entirely different interpretation of the tune – both of which I like. Some lyrical differences appear on the Airplane’s version as well.

Jefferson Airplane Lyrics

Kantner: If you smile at me you know I will understand
Cause that is something everybody everywhere does, In the same language

Slick: I can see by your coat my friend that you're from the other side
There's just one thing I got to know, Can you tell me please who won

Balin: You must try some of my purple berries,
I been eating them for six or seven weeks now, haven't got sick once

Probably keep us both alive

Wooden ships on the water very free and easy
Easy you know the way it's supposed to be
Silver people on the shoreline leave us be
Very free and easy

Kantner: Sail away where the mornin’ sun goes high

Kantner & Slick: Sail away where the wind blows sweet and young birds fly

Take a sister by her hand
Lead her far from this barren land

Horror grips us as we watch you die
All we can do is echo your anguished cry and
Stare as all you human feelings die

We are leaving, you don't need us

Go and take a sister by her hand
Lead her far from this foreign land
Somewhere where we might laugh again

We are leaving, you don't need us

Sailing ships on the water very free and easy
Easy you know the way it's supposed to be
Silver people on the shoreline leave us be
Very free, and gone

NO C'MON
GO RIDE THE MUSIC
C'MON RIDE IT CHILD

Crosby, Stills, & Nash Version

CSN Lyrics

Stills: If you smile at me, I will understand
'Cause that is something everybody everywhere does in the same language.

Crosby: I can see by your coat, my friend, you're from the other side,
There's just one thing I got to know, Can you tell me please, who won?

Stills: Say, can I have some of your purple berries?

Crosby: Yes, I've been eating them for six or seven weeks now, haven't got sick once.

Stills: Probably keep us both alive.

Wooden ships on the water, very free and easy,
Easy, you know the way it's supposed to be,
Silver people on the shoreline, let us be,
Talkin' 'bout very free and easy...

Horror grips us as we watch you die,
All we can do is echo your anguished cries,
Stare as all human feelings die,
We are leaving - you don't need us.

Go, take your sister then, by the hand,
lead her away from this foreign land,
Far away, where we might laugh again,
We are leaving - you don't need us.

And it's a fair wind, blowin' warm,
Out of the south over my shoulder,
Guess I'll set a course and go.