Fishing is slightly less boring than we thought, shocker!!
Come to Papa, bitches!
Anyway, after a long shower, we stumble across this weird fucking Ozzy TV show called Ultimate Fishing Show.
The initial urge to change channel is negated by the crappy remote running out of battery power, so we watch and find some Ozzy chav idiot on a boat spouting about the excitement of fishing! However, this dumbness is miraculously saved by his being accompanied by two stunning bottled-blonde, bimbo hotties clad only in teeny weeny bikinis reeling big fish into a speedboat!
But this almost made fishing a teeny weeny bit less boring! Almost!!
However, we really could’ve done without scenes where the two stunning hotties clad only in teeny weeny bikinis are trying to extricate hooks from the desparate mouths of manically wriggling fish and then bloodingly slitting said unhappy fish right open and, while still flapping around, ripping their guts out with their bare hands!
Talk about aversion therapy! We felt a little like Alex in Clockwork Orange! An overdose of this and we’re likely to turn into George Michael!
Ozzyland is one of the strangest countries on the planet! Way too close to Japland and other insane Asian countries for it’s own good!
"Shake Rattle And Roll" and the power of dilution
You wear low dresses, the sun comes shining through. I can’t believe my eyes, all that mess belongs to you.
Very different versions in terms of content and style of performance. Very different racial aspects too!
It just proves what watering things down can do for you! We still see the same type of bullshit today!
Of course, “Shake, Rattle and Roll” was most successfully by Bill Haley & His Comets.
In early 1954, Herb Abramson of Atlantic Records suggested to Stone that he write an up-tempo blues for Big Joe Turner, a blues shouter whose career had begun in Kansas City before World War II. Stone played around with various phrases before coming up with “shake, rattle and roll”!
However, the phrase was not new. It had been used in a number of earlier songs.
In 1919, Al Bernard recorded a song about gambling with dice with the same title, clearly evoking the action of shooting dice from a cup. The phrase is also heard in “Roll The Bones” by the Excelsior Quartette in 1922.
However, while the phrase was undoubtedly passed along, neither of these songs are direct ancestors of the innovative 1954 hit.
Stone admitted that the great “one-eyed cat peepin’ in a seafood store” line was suggested to him by Atlantic session drummer Sam “Baby” Lovett!
Shake Rattle & Roll As Performed by Big Joe Turner
Hey Joe! Big Joe Turner! Come on in!
Master ’shout blues’ artist Big Joe Turner here marks one of the highest points of his career, and indeed modern music, with “Shake, Rattle & Roll.”
A pivotal figure in popularising blues, jazz, R&B, and rock and roll, Turner’s amazing career stretched from the dark days of the 1920’s which found him busking on the streets of Kansas City, through tothe 1980’s where well merited critical recognition led to him regularly performing at the most lauded jazz/blues festivals in America and Europe.
Turner’s recording was released in April 1954, and reached # 1 on the Billboard R&B chart on June 12. However, its success did not cross over to the pop chart, then mainly a whites-only bastion controlled by “white” radio stations.
The song, in its original incarnation, is wonderfully raunchy and sexual. Perhaps its most salacious lyric, which was absent from the later Bill Haley rendition, is “I‘ve been holdin’ it in, way down underneath / You make me roll my eyes, baby, make me grit my teeth“. However, on the recording, Turner slurred the lyric “holdin’ it in“, since this line may have been considered too risqué for publication.
Also very risqué was the line “Well, I can look at you and tell you ain’t no child no more” !
The chorus uses “shake, rattle and roll” to refer to wonderfully boisterous intercourse, in the same way that the words “rock and roll” was first used by numerous rhythm and blues singers of the 1940s and 50s!
Get outta that bed, wash your face and hands
Get outta that bed, wash your face and hands
Well, you get in that kitchen, make some noise with the pots and pans
Well, you wear low dresses, the sun comes shining through
Well, you wear low dresses, the sun comes shining through
I can’t believe my eyes all that mess belongs to you
I believe to my soul you’re a devil in nylon hose
I believe to my soul you’re a devil in nylon hose
Well, the harder I work, the faster my money goes
I said, shake, rattle and roll, shake, rattle and roll
Shake, rattle and roll, shake, rattle and roll
Well, you won’t do right to save your doggone soul
I’m like a one-eyed cat peeping in a seafood store
I’m like a one-eyed cat peeping in a seafood store
Well, I can look at you and tell you ain’t no child no more
Ah, shake, rattle and roll, shake, rattle and roll
Shake, rattle and roll, shake, rattle and roll
Well, you won’t do right to save your doggone soul
I said, over the hill and way down underneath
I said, over the hill and way down underneath
You make me roll my eyes, Baby, make me grit my teeth
I said, shake, rattle and roll, shake, rattle and roll
Shake, rattle and roll, shake, rattle and roll
Well, you won’t do right to save your doggone soul
From: weirdovideos
Shake Rattle & Roll As Performed by Bill Haley & His Comets
“We stay clear of anything suggestive.”
Hot on the heels of Turner’s recording followed the watered down, “white” crossover version from Bill Haley and His Comets which sold in the bucketloads and made millions for the record company!
Haley’s recorded version of the song, laid down on June 7, 1954 (the same week that Turner’s version topped the R&B charts), featured the following members of the Comets: Johnny Grande (piano), Billy Williamson (steel guitar), Marshall Lytle (bass), and Joey Ambrose (sax). It is known that Danny Cedrone, a session musician who frequently worked for Haley, played lead guitar, but there is controversy over who played drums.
Some music reference books indicate that it was Panama Francis, a noted jazz drummer who worked with Haley’s producer, Milt Gabler, however in a letter written in the early 1980s, Gabler denied this and said the drummer was Billy Gussak. Bill Haley’s own stage drummer, Dick Richards, did not play on this record but may have provided backing vocals since he participated in the recording of the song’s B-side, “A.B.C. Boogie”. This was Cedrone’s final recording session as he died only ten days later.
Haley’s version had partly sanitised lyrics in an attempt to be more palatable to white audiences as well as a less bluesy, more “pop” arrangement.
Whereas Turner’s song had started with the lines “Get out of that bed and wash your face and hands, / Get out in the kitchen; make some noise with the pots and pans“. In Haley’s version, the song began with “Get out in that kitchen and rattle those pots and pans / Roll my breakfast ’cause I’m a hungry man“.
This cleanup of lyrics meant removal of certain references considered too sexual in nature, such as lyrics like “the devil in nylon hose“, “you make me roll my eyes, baby make me grit my teeth” and “you wear those dresses, the sun comes shining through”.
However, one of the most provocative sexual similes in Turner’s version of the song, “I’m like a one-eyed cat, peeping in the sea food store“, was left untouched in the Haley version, but the following line, “I can look at you ‘n’ tell you ain’t no child no more” was changed.
Actually Haley himself was blind in one eye, which may account for his retaining the line! Not sure about that though!
Get out from that kitchen
and rattle those pots and pans,
Get out from that kitchen
and rattle those pots and pans.
Well, roll my breakfast,
’cause I’m a hungry man.
I said Shake rattle and roll,
I said Shake rattle and roll,
I said Shake rattle and roll,
I said Shake rattle and roll;
Well you never do nothin’
to save your doggone soul.
Wearin’ those dresses,
your hair done up so right
Wearin’ those dresses,
your hair done up so right;
You look so warm,
but your heart is cold as ice.
I said Shake rattle and roll,
I said Shake rattle and roll,
I said Shake rattle and roll,
I said Shake rattle and roll,
Well you never do nothin’
to save your doggone soul.
I’m like a one-eyed cat,
peepin’ in a sea-food store,
I’m like a one-eyed cat,
peepin’ in a sea-food store;
I can look at you,
till you don’t love me no more.
I believe you’re doin’ me wrong
and now I know,
I believe you’re doin’ me wrong
and now I know;
The more I work,
the faster my money goes.
I said Shake rattle and roll,
I said Shake rattle and roll,
I said Shake rattle and roll,
I said Shake rattle and roll,
Well you never do nothin’
to save your doggone soul.
Shake rattle and roll
From: 2elvislovers
Although very different, both of these renowned recordings are, of course, classics of twentieth century music.
Haley’s version is poppier and brighter and perhaps fits the conventional definition of rock and roll as a merger of country music and rhythm and blues.
Haley had started his career in country music while Turner was a blues shouter. Turner’s version is much more natural, much raunchier and sexier.
The differences between the versions perfectly illustrate the differences that then prevailed between rhythm and blues intended for adults – and a mainly black audience – and rock and roll intended for teenagers – and a mainly white audience.
Perhaps surprisingly, Turner and Haley became close friends, and even performed on tour together in Australia in 1957. Furthermore, in 1966, at a time when Turner’s career was at a low ebb, Haley arranged for his Comets to back the elder musician for a series of recordings in Mexico.
Sadly Haley and Turner never recorded a duet version of “Shake Rattle and Roll”! Now, that would have been interesting!
Haley acknowledged Turner’s version to a greater extent in later years by incorporating more of the original lyrics into his live performances, including his addition of the verse with the lines “I’ve been over the hill and I’ve been way down underneath” which was omitted from Haley’s original recording, when he recorded the song for Stuart Colman’s BBC Radio programme in October 1979.
When Haley performed the song at the Bitter End Club in New York City in 1969 for his Buddah Records album release Bill Haley’s Scrapbook, he changed Turner’s “I believe to my soul you’re the devil in nylon hose” to “I believe you’re going to the devil and now I know“.
Haley died on 9 November 1981, aged 56, while Turner passed away almost exactly four years later on 24 November 1985, aged 74.
Both men will live on forever through their music.
There were also a number of other well known recordings of this great song.
Other cover versions from this era include a rockabilly recording by Buddy Holly, unreleased at the time, primarily using the Turner lyrics.
NOTE:
Morrissey’s Suedehead and Conchord dreams !
Last night I dreamt,
somebody woke me …
Rather disturbingly, I had a dream about Morrissey last night! I think my already fragile mind is nigh approaching collapse! Or maybe it was just the extra five tumblers of Jack Daniels after closing-time in the go-go bar!
I mean, I was a huge huge fan of The Smiths back in the day, but only a casual follower of Mozza’s solo work, which although having some sublime moments, has produced no sustained work remotely in the calibre of say “The Queen is Dead”.
Mozza without Marr was a tad like Lennon without Mc Cartney. Or more like Jagger without Richards!
The dream wasn’t exactly as weird as Bret’s wonderful dreams of David Bowie in the classic series 1 episode of Flight of the Conchords (see clip below!) but still rather vivid! Maybe I need to get a funky funky eye patch !!
Within much dumb conversation came the question why his solo work, according to critical opinion, never reached the heights of the Smiths, to which the great Manc. said that it did reach those heights and beyond! And moreover that his fine solo catalogue dwarfed what the Smiths ever released! Fair enough! If Morrissey said it, then it must be true! (Yes, Morrissey did say it, not some fucked-up and disturbing quirk in my subconscious that I never want to endure again!!)
Which brings us, rather stumblingly, to “Suedehead“, Mazza’s amazing debut solo single and still, in our view, his greatest solo moment.
Hard to believe this was released over 20 years ago! Yap, in February 1988! I must’ve been about 7 then!
Before the release, there was an incredible amount of fevered anticipation amongst Smiths fans, still reeling from the sudden demise of the seminal group. And so much media hype!! But, for once, the final product lived up to the hype!
I rushed out to the record store on the day of the release and played the single about a million times that first week!
The track later featured on Morrissey’s pretty decent debut album Viva Hate and again on the compilation album Bona Drag; the latter of which also featured the single’s B-side “Hairdresser on Fire“.
Strangely, this single charted higher than any of the singles released by The Smiths, reaching number 5 in the UK Singles Chart.
Suedehead remains a powerful track even though Mozza’s trademark lyrics are far from being at their best here. The track really has the feel of a great Smiths song with delicious instrumentals worthy of Johnny Marr (and stylistically not dissimilar to a set of Marr riffs).
The top class band here included Stephen Street on Bass Guitar, Guitars, Vini Reilly on Guitars, Keyboards and Andrew Paresi on Drums and Percussion.
Brit music mag NME gave Suedehead a euphoric review, awarding it ‘Single of the Week’ saying that “Morrissey’s vocals hit a pitch that turns your stomach with queasy delight. It makes you feel vulnerable and provokes emotions you’ve forgotten about.“
In the 1988 NME Year in Review the song was described as “The best No. 1 ‘88 never gave us“!
The highlight? Easy! Morrissey trying to start a tractor! The first and last time Mozza ever saw a fucking tractor!
Lowlight? Yap, Mozza in the bath! Could’ve really done without seeing that!
And why do you hang around ?
I’m so sorry
I’m so sorry
Why do you come here
When you know it makes things hard for me ?
When you know, oh
Why do you come ?
Why do you telephone ? (Hmm…)
And why send me silly notes ?
I’m so sorry
I’m so sorry
Why do you come here
When you know it makes things hard for me ?
When you know, oh
Why do you come ?
You had to sneak into my room
just to read my diary
It was just to see, just to see
All the things you knew I’d written about you…
Oh, so many illustrations
Oh, but I’m so very sickened
Oh, I am so sickened now
Oh, it was a good lay, good lay
It was a good lay, good lay
It was a good lay, good lay
Oh
It was a good lay, good lay
It was a good lay, good lay
Oh, it was a good lay, good lay
Oh
Oh, it was a good lay
It was a good lay
Oh, a good lay
Oh, it was a good lay
Good lay, good lay
Oh
It was a good lay
It was a good lay
This is a dream Bret. It’s all part of your freaky dream. Am I freaking you out Bret? Is this a freaky dream?
Wear the eye patch Bret,
Wear the funky funky eye patch
NOTE:
Mushi Mushi Maria Ozawa … long time no see!
It seems we have been negligent in our duty to bring regular new glimpses of the uber-hot and uber-naughty, jap-canuck princess Maria to worldwideweb world!
So here are some nice shots from a Juicy Honey series. There are more and better shots which we’d like to post …. but this is google!
David Mc Donald – The Mystery of Creativity
Just what exactly makes something art? And what makes a piece of art iconic?
This clip sets out the very well constructed and delivered introduction by David to the fascinating project. We are really looking forward to catching the later installments somewhere soon!
We’d like to thank David too for his nice e-mail and would like to wish him every success with this fascinating project!
Greil Marcus on Bob Dylan: A talk with the country’s foremost Dylanologist
Greil Marcus on Bob Dylan: A talk with the country’s foremost Dylanologist
by Britt Robson
http://www.minnpost.com
Photo by Thierry Arditti
Greil Marcus on Bob Dylan is a match made in High Fidelity heaven: A highly influential and formidably intellectual analyst of American pop culture parsing the most profoundly creative and myth-generating troubadour of our time.
Marcus, a seminal shaper of modern music criticism since his days as the first-ever record reviews editor for Rolling Stone, has written two books about Dylan: “Invisible Republic: Bob Dylan’s Basement Tapes,” and “Like a Rolling Stone: Bob Dylan at the Crossroads.” Tomorrow at 5 p.m., on the University of Minnesota campus, he will appear with Todd Haynes, director of “I’m Not There,” the brilliant and occasionally bewildering bio of Dylan that Haynes himself has said was inspired in part by Marcus’ work. On Saturday night at the Walker Art Center, Marcus will introduce and then lead a post-screening discussion about “I’m Not There,” at 7 p.m. And a week from today, Dylan will perform for the first time in his career on the campus of the U of M, where he briefly attended school — starting the concert just as the polls are closing on perhaps the most important and historic presidential election in the singer’s lifetime.
It seemed like an appropriate time to talk with Marcus, who is teaching a short course at the U of M this fall and graciously agreed to a phone interview last Sunday.
MinnPost: Todd Haynes has specifically cited your writing as one of the influences and inspirations for the making of “I’m Not There.” Did you immediately notice this?
GM: Yeah, Todd had set up a screening in August of last year and when the movie got to the riddle section [featuring actor Richard Gere], I said, ‘Hey, wait a minute, I recognize this.’ But he is so inventive visually. He is no mere narrative storyteller. He gets things right in terms of what things did look like or ought to look like at certain moments in time, the images in front of the story. And in the riddle section that is especially true.
MP: Todd has been quoted as saying that people like and understand the film more with multiple viewings. How many times have you seen it?
GM: About five I think. Because it is so alive visually. Most people, me included, see a movie for first time and the energy is going toward figuring out what is happening, who is who and what is what, and in disjointed film like this one takes a lot of work. But there is so much going on visually behind all of that. Each time I see the movie, the opening sequence seems more and more powerful, and more valuable.
Bob Dylan and his band performing “Masters of War” at Stadthalle, Vienna, Austria on June 10, 2008.
MP: As an artist, Dylan has been notoriously allusive and elusive, refusing to be pigeonholed and disdainful of being anointed as a protest singer or the voice of his generation. Consequently, there is a lot of myth and obfuscation built up around him. Why do you suppose it has unfolded this way?
GM: It comes back to him because intellectually he doesn’t rest. He is always thinking, probing; he doesn’t seem to ever be bored as an artist. He is interested in new music or a new discovery, like an 80-year old Blind Blake track he hasn’t heard before. I always felt that what drives his work is an extraordinary gift for empathy, for imaging himself into characters who outwardly are nothing like him — from another century, or female, or black, or older or younger. As a very young man, he sings “No More Auction Block”; this is a song that originated from being first heard from black soldiers during the Civil War, but my god, [when Dylan is singing it] he is on the auction block. It is not acting, it is going into character and leaving himself in some way. That’s what draws me back.
I don’t think his not wanting to be known is that complicated. Because he was able to write songs that — as Joan Baez and so many other have said — speak to what we are feeling and can’t express, and because of that gift of empathy I just mentioned, he connects with so many people. They think, ‘He knows me and so I know him. If we could meet, we could become best friends and I could become him.’ These are psychotic leaps that in some ways are what being a fan is all about. But that happened to him with so many people who took themselves seriously — college students and radicals and people who felt they had a gift to give to the world — that, as he said in [his autobiography] “Chronicles,” there were people coming down his chimney and through his doors and windows. Dylan noticed what happened to Elvis and worked hard to avoid that fate. At first he wanted to be Elvis Presley, but he learned he didn’t want to be defined by Elvis Presley, that he could go beyond that.
MP: Were you surprised at how much he came out of hiding in “Chronicles,” how forthright he was?
GM: I was surprised by two things. One, that it was so clearly written. You can sense the choices between one word and another. This wasn’t spoken into a tape recorder or ghost-written. There are lines like him talking about ’50s rockabilly artists [who play like they are] navigating burning ships — flashes like that. The other thing is just the concept of the book, which totally ignores years that made him into someone whose book we would want to read. It is like Eisenhower writing his autobiography and leaving out the Second World War.
MP: Speaking of glory days and pivotal moments, Dylan is enjoying an amazing creative resurgence. The three records of original material he has put out in the last 10 years have all been highly acclaimed and appeared at or near the top of critics’ polls. But culturally, they don’t seem to have had the same profound impact and resonance that his classic material from the mid-60s had. Do you agree?
GM: Well, you are talking about completely different times and different audiences. Bob Dylan now is 67 years old. The notion that anybody could achieve the kind of cultural critical mass that Dylan — or for that matter, The Beatles — achieved seems very far away. But I would also say that we shouldn’t speak too soon. Someday we may look back on “Time Out of Mind” [released in 1997] as a defining artistic statement in the same way as “The Great Gatsby.” The album was released just before Clinton was taken down with the Monica Lewinsky scandal, and also look what was happening when he wrote it. Clinton had been reelected in the most insignificant way — he let Bob Dole beat himself. One of the big issues of that election was school uniforms. As much as he could be, Clinton was an empty vessel, consciously running a race about nothing. And at that time Dylan is making an album about a ruined landscape, a country that has used itself up — it is a completely nihilistic record. We will look back on that and it will loom larger than it does today.
Bob Dylan performing “A Change Is Gonna Come,” during a Sam Cooke Tribute at the Apollo Theatre in 2004.
MP: Which brings us neatly to Tuesday night, when Dylan is playing the U of M, where he was briefly a student, for the first time, at the same time Obama and McCain is being decided. Do you think it will be a special, historic concert?
GM: Well, I can’t imagine it is a coincidence. It’s too perfect. It is not Dylan at Xcel Center. It is Dylan playing on a campus he attended, a five-minute walk from the little dingy apartment by Gray’s Drug where he used to live.
It will be a historic event depending on the quality of his performance. I heard what he did with “Masters of War,” on Election Night in 2004, performing in Wisconsin. Nobody yet knew the outcome of the race. And he sang “Masters of War” as if the fate of the world was in the balance. So it won’t just be because of the date; what he is able to offer will or won’t make it a historic night. He is capable of putting in a terrible performance, although I don’t think he will. He has made it clear he is for Obama and most of the audience will be for Obama. As an Obama victory has become more likely, I think the alternative is that it will seem more monstrous if he loses. Win or lose, I don’t know how [Dylan] will respond to the situation. But I am planning to be there.
20/20 Hindsight!
Jimmy Margulies, New Jersey — The Record
Visit Jimmy E-Mail Jimmy
Mc Cain’s medical records? That tome must be the size of the world encyclopedia!
Jackie DeShannon – When You Walk In The Room (1964)
Shannon, yer a corker!- Tom Cruise (in some piece of shit movie we endured once but swiftly forgot! Til now!)
Sharon’s 64 now. Not sure whether she’s still on the scene or not!
I can feel a new expression on my face.
I can feel a glowing sensation taking place.
I can hear the guitars playing a lovely tune,
Ev-er-ry-time that you – walk in the room.
I close my eyes for a second and pretend it’s me you want.
Meanwhile I try to act so nonchalant.
I feel a summer’s night with a magic moon.
Everytime that you – walk in the room.
Maybe it’s a dream come true,
Standing right alongside of you.
Wish I could tell you how much I care,
But I only – have the nerve to stare.
I can feel a-something pounding in my brain,
Just anytime that someone speaks your name.
Trumpets sound, I hear thunder boom.
Everytime that you – walk in the room.
Everytime that you – walk in the room.
Everytime that you – walk in the room.
Everytime that you…
Written by: Jackie DeShannon-1963
Performed by: Jackie DeShannon -1963
Appears on: Jackie DeShannon-1963, Good As Gold!-1990, The Best of Jackie
DeShannon-1991, The Very Best of Jackie DeShannon-1996, Best of…1958-1981:
Come & Get Me-2000, Classic Masters-2002 [ 2 ] , Singers & Songwriters: The Folk
Years (Various Artists)-2003, Breakin’ It up on the Beatles Tour-2005, Her
Own Kind of Light-2008, et al. ]Covered by: Pete Best, Karla Bonoff, Paul Carrack, Jim Croce, Steve
Forbert, The Hellcats, Chris Hillman, Jive Bunny & the Mastermixers, James
Kilbane, Johnny Logan, Daniel O’Donnell, Cliff Richard, The Searchers, Del
Shannon, Smokie, Status Quo, Pam Tillis, The Ventures, Peter Williams, Daniel
Young, et al.
From: Meowbay
TTRH3.3x Bob Dylan TTRH Season 2/3 ‘PRESIDENT’S DAY’
Season 3
Encore Presentation (boo!!)
President’s Day
Airdate Series 3 – October 29, 2008 / Series 2 – 14 February 2008.
Mp3 @ 192 kbps/ 180 MB/ RS
Loadsa reasons to knock out a new show on Presidents or Politics! Or retarded Alaskan Governors! Grrrr!!
It’s night time in the big city. The Server’s Down. The parakeet is restless. This is Theme time Radio Hour.
Theme Time Radio Hour – Your home for Presidential Dreams, White House Themes and simian Bush Schemes
Mc Kinley took a shot at the White House in 1896. I don’t mean he shot at the White House. He took a shot at it.
You went off a-fishin’, let the country go to ruin.
Now he’s gone, I’m glad he’s gone.
Roosevelt’s in the White House, doin’ his best,
While old Hoover is layin’ ’round and takin’ his rest.
Now he’s gone, I’m glad he’s gone.
Pants all busted, patches all way down,
People got so ragged they couldn’t go to town.
Now he’s gone, I’m glad he’s gone.
Workin’ in the coal mines, twenty cents a ton,
Fourteen long hours and your work day is done.
Now he’s gone, I’m glad he’s gone.
People all angry, they all got the blues,
Wearing patched britches and old tennis shoes.
Now he’s gone, I’m glad he’s gone.
Got up this morning, all I could see
Was corn bread and gravy just a-waitin’ for me.
And now he’s gone, I’m glad he’s gone.
Look here, Mr. Hoover, it’s see what you done;
You went off a-fishin’, let the country go to ruin.
Now he’s gone, I’m glad he’s gone.
Here they are, They Might Be Giants, or as we call them here, The Hustlers.
There must be lights burning brighter somewhere
Got to be birds flying higher in a sky more blue
If I can dream of a better land
Where all my brothers walk hand in hand
Tell me why, oh why, oh why cant my dream come true
There must be peace and understanding sometime
Strong winds of promise that will blow away
All the doubt and fear If I can dream of a warmer sun
Where hope keeps shining on everyone
Tell me why, oh why, oh why wont that sun appear
We’re lost in a cloud With too much rain
We’re trapped in a world Thats troubled with pain
But as long as a man Has the strength to dream
He can redeem his soul and fly
Deep in my heart theres a trembling question
Still I am sure that the answer gonna come somehow
Out there in the dark, there’s a beckoning candle
And while I can think, while I can talk
While I can stand, while I can walk
While I can dream, please let my dream
Come true, right now
Let it come true right now
Oh yeah
Imagine if American Idol was on the radio instead of on television, we’d have a very different set of winners.
There’s also a number of great tracks on earlier themes which could not be played on their respective shows.
After last week’s cracker, this one carries on the same vein! Allah be praised!
I know Al Gore tried to grow a beard, but that was after he was elected President. But it was taken away from him. I don’t mean the beard.
Topics espoused upon by Dylan are very varied – President’s Day Clearance Sales, Robert Todd Lincoln’s Jonah effect on Presidents! (he only missed the Kennedy assassination!), Washington’s ambiguous birthday. Jack White and George’s honour, a meticulously researched pop song by TMBG, the wearing of beards by Presidents, and loads of other shit!
I hear Dick Cheney’s working on a folk rock record!
Even in their heyday, it seems only Republicans wore beards.
Some say he succumbed to death by doctors.
I always enjoy playing a fellow disc jockey!
Tracklisting
Opening
White House Blues – Charlie Poole
Jack on George
Hello Sundown – Johnnie Taylor
Hello Little Boy – Ruth Brown
James K. Polk – They Might Be Giants
Polk Salad Annie – Tony Joe White
“McKinley and Garfield”
Charles Guiteau – Kelly Harrell
I Don’t Want To Be President – Percy Mayfield
“Presidential Requirements”
I Feel That Old Age Coming On – Wynonie Harris
“Give a Buck”
Lincoln And Liberty Too – Pete Seeger
“Robert Todd Lincoln”
Living In The White House – JB Lenoir
“The White House”
“Nixon/Kennedy Debate”
Don’t Smoke In Bed – Nina Simone
Phone Call
Roosevelt’s In Trinidad – Atilla
Why I Like Roosevelt – The Soul Stirrers
“Malady in A Minor”
It’s All In The Game – Tommy Edwards
“Alvin Barkley”
Walkin’ – Joe Liggins & The Honeydrippers
When You Walk In The Room – Jackie DeShannon
Richard Lewis on Presidents
High Hopes – Frank Sinatra
Sinatra & Kennedy
Mr. Moon – Clover
E-Mail
Superbird – Country Joe & The Fish
When Cleveland is Going Out (Snippet)
Funky President – James Brown
“Presidential Scandals”
John C. Reilly Promo
“Suicide Record”
Gloomy Sunday – Billie Holiday
“I Like Ike”
That Was The President – Phil Ochs
(Gotta Go) Upside Your Head – Buddy & Ella Johnson
Dead Presidents – Little walter
“LBJ”
Impeach The President – Roy C. & The Honeydrippers
“Impeachment”
Politics – Hank Penny
“Song Sharking”
Penn Jillette: Poem Song Collector
Richard Nixon – Rod & The MSR Singers
Jimmy Carter Says Yes – Jimmy Marshall
Mr. President Have Pity On The Working Man – Randy Newman
If I Can Dream – Elvis Presley
Closing/End Credits
Here she be Dylanite dogs – in two different forms!
Part1 :
President_s_Day_Part_1_Joint_13-2-2008.mp3
Part2:
Presidentsday_joint_part_2_13-2-2008.mp3
Big thanks to blindwilly / charlespoet!
NOTE:
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