‘You Ain’t Never Caught A Rabbit . . .’

At last, we come to the end of this particular line: Today, we look at the final six selections in my Ultimate Jukebox, the last six of the 228 records I’d have set to play in my living room, if – as I wrote much earlier this year – my living room were part malt shop, part beer joint, part crash pad and part heaven.

If I were fool enough to start this project all over again, I’m sure that the list of songs would be very different. I imagine that about half of the records that showed up here would show up here again. The others? Well, over the past nine months, I’ve frequently heard a record on the radio or during random play on the RealPlayer and wondered why I didn’t choose it for the UJ. I didn’t keep track of those moments, but had I done so, I estimate that they were frequent enough to replace half of the tunes I put into the UJ.

One constraint I might ignore on a second go-round is length. I set a limit of 7:30 for a record, knowing that a 45 could handle that much, and I hit that limit with Richard Harris’ “MacArthur Park.” (I came close, relatively, with Harry Chapin’s “Taxi” and Buddy Miles “Down by the River” and maybe a few others that don’t come to mind right now.) If I were to do the project over, I’d ignore that limit and include longer pieces.

Some of the worthy longer pieces that come immediately to mind are the Side One suite on Shawn Phillips’ Second Contribution, the Allman Brothers Band’s performance of “Whipping Post” from At Fillmore East, Bob Dylan’s “Idiot Wind” from Blood on the Tracks, “Beginnings” by Chicago from Chicago Transit Authority, Don McLean’s “American Pie,” Leon Russell’s take on “Jumpin’ Jack Flash/Youngblood” from The Concert for Bangla Desh and Boz Scaggs’ “Loan Me A Dime” from his self-titled album. I suppose those and a few others might show up in a complementary project. We’ll see.

When I wrote the second installment of this project, I mentioned Janis Ian’s “At Seventeen” and Gerry Rafferty’s “Baker Street” as the final two records trimmed to get to 228. And I said that one of the selections set for this final installment was there on probation, as it were: If something else along the way seemed more compelling or more deserving, there was one record that I would pull out of the list to make room.

Well, as good as a lot of the records I thought about along the way might have been – and “Baker Street” came to mind several times – that final record has come off probation and remains in the Ultimate Jukebox:

While Willie Mae Thornton’s version of “Hound Dog” – written by Jerry Leiber and Mike Stoller – was recorded in 1952, it was the next year when the record did its damage on the air and in the charts: “Hound Dog,” according to All-Music Guide, held the No. 1 spot on the Billboard chart for seven weeks in 1953.

Thornton’s version was the first recorded of the oft-covered song, with the session taking place at Radio Recorders in Los Angeles on August 13, 1952, according to Wikipedia. The session was in fact produced by Leiber and Stoller themselves “because their work had sometimes been misrepresented, and on this one they knew how they wanted the drums to sound.”

Wikipedia notes that Johnny Otis was supposed to produce the session, but Leiber and Stoller wanted Otis on drums. Evidently in exchange, Otis received a writing credit on all six of the 1953 pressings, Wikipedia says. The first release was on a 10-inch 78 rpm record, according to Wikipedia, but there’s no indication when the 45 rpm releases first came out.

And although I’ve included a player for the song above, I could not resist offering this video – I think it’s from 1965 – of Big Mama Thornton performing “Hound Dog” with a band that includes guitar legend Buddy Guy.

A Six-Pack from the Ultimate Jukebox, No. 38
“Hound Dog” by Big Mama Thornton, Peacock 1612 [1952]
“Yester-Me, Yester-You, Yesterday” by Stevie Wonder, Tamla 54188 [1969]
“Mona Lisas & Mad Hatters” by Elton John from Honky Château [1972]
“I’d Really Love to See You Tonight” by England Dan & John Ford Coley, Big Tree 16069 [1976]
“Tonight Is What It Means To Be Young” by Fire Inc. from the soundtrack to Streets of Fire [1984]
“Come to My Window” by Melissa Etheridge, Island 858028 [1994]

In one of the last posts before I decided to put together the Ultimate Jukebox, I wrote about the mournful and beautiful “Yester-Me, Yester-You, Yesterday” and its impact on me no matter when or where I hear it. It’s an exercise in nostalgia, not only in its lyrics but in its arrangement, with its decidedly old-school chorus in the introduction and choruses (a description borrowed from a comment left by jb, the proprietor of The Hits Just Keep On Comin’). Wonder makes the unlikely combination work, as he has done so many times through his career. And whenever it comes on the radio or the player, if there’s not a twinge of regret for all the things left behind, well, you’re at the wrong blog.

One of the amazing things to me about the early Elton John – from say 1970 through 1976 – was his ability to take the frequently opaque lyrics of Bernie Taupin and craft songs around them that made them sound cryptically wise or at least reasonable. I mean, after hundreds of listenings, I’m still not sure what the lyrics to “Mona Lisas & Mad Hatters” mean:

And now I know
Spanish Harlem are not just pretty words to say
I thought I knew
But now I know that rose trees never grow in New York City

Until you’ve seen this trash can dream come true
You stand at the edge while people run you through
And I thank the Lord there’s people out there like you
I thank the Lord there’s people out there like you

While Mona Lisas and Mad Hatters
Sons of bankers, sons of lawyers
Turn around and say good morning to the night
For unless they see the sky
But they can’t and that is why
They know not if it’s dark outside or light

Wikipedia says that the lyrics were inspired partly by Ben E. King’s recording of “Spanish Harlem” and partly by Taupin’s having heard a gun go off near his hotel during his first visit to New York City. Okay. In any case, they sound good, and John crafted around them one of his better melodies. Add the production of Gus Dudgeon, and you have an album track that hangs around, sounding better every time it pops up in the player.

Paul Evans of the 1992 edition of the Rolling Stone Album Guide didn’t much care for England Dan & John Ford Coley. He called “I’d Really Love to See You Tonight” “ingratiating, smug and coy” and labeled the duo’s body of work as “truly repellent,” capping his review off by saying that they “sound like oafish bores [not “boars,” sorry] breaking their backs to be ‘sensitive.’” Well, okay. I’ll acknowledge that “I’d Really Love to See You Tonight” isn’t going to be on everyone’s good list. But I don’t hear those flaws when I hear “I’d Really Love to See You Tonight,” which was the duo’s biggest hit (two weeks at No. 2 and one week atop the Adult Contemporary chart). I hear the summer of 1976, which was a reasonably good season. I was taking some post-graduate courses at St. Cloud State, I had a steady girlfriend whom I saw most weekends, I had friends for evenings downtown or at one of our homes: Life was good. Along the way, I occasionally heard “I’d Really Love to See You Tonight” coming through the speakers at home, in the car and – early in the morning before the place got too noisy – in the snack bar at Atwood Center. And the record has become a reminder of a pretty good summer, and that’s good enough for me.

A while back, I came across the movie Streets of Fire as I walked the remote up the channels. As I almost always do when that happens, I watched the rest of the movie. And I made a note at Facebook about it, calling it a bad movie. I was corrected by my blogging pal Jeff, who keeps house at AM, then FM. He called it a guilty pleasure, and I guess that’s a better label. Either way, I do like the movie, and I still love the soundtrack, especially the two Jim Steinman epics that open and close the movie. “Tonight Is What It Means To Be Young” is the closer, with the studio group Fire Inc. providing the backing and lead vocals coming from Holly Sherwood with other vocals from Laurie Sargent, Rory Dodd and Eric Troyer, according to Wikipedia. One notable name on the roster of Fire Inc. is that of Roy Bittan, piano player for the E Street Band. “Tonight Is What It Means To Be Young” spent five weeks in the Billboard Hot 100, peaking at No. 80.

When I started this project, I devised a way to split the 228 records I had selected into random groups of six, and each week, I listed that week’s six songs chronologically. Back in Week One, the first song listed was The Mamas & The Papas’ “Look Through My Window.” This week, the last song listed – the last entry in this project – is Melissa Etheridge’s “Come To My Window,” a record that went to No. 25 in 1994. I guess that confluence is fitting, as what I’ve tried to do in these thirty-eight weeks is provide a window into the music that moves me and in doing so, a window into me as I’ve been shaped by music over the years. As I thought might happen, I’ve probably learned as much about myself as has anyone else who’s read my words and listened to the tunes offered here over the past eight-plus months. The mystery of how some songs attach themselves to our lives is one I’ll be exploring for the rest of my days. I doubt I’ll ever completely know how some songs – “Cherish” and “We” come to mind in my case – become major pillars of our internal lives and how others like “Come To My Window” – a good record to me, but nothing more than that – are perhaps the equivalent of artwork hung on the internal walls supported by those other, more vital records. In the end, I doubt I’ll find a perfect answer, and I suppose it might be better if all that remains a mystery. But that doesn’t mean I’m going to stop listening.

Tags: , , , , ,

5 Responses to “‘You Ain’t Never Caught A Rabbit . . .’”

  1. AMD says:

    I suppose congratulations are due for completing the Juke Box project, a most admirable marathon. And great call on England Dan & John Ford Coley. That song seems to me a quintessential juke box number in a beer drinking context.

  2. Paco Malo says:

    No doubt, congratulations are in order upon completion of the UJ project. Further, I applaud your tenacity in bringing her home. Great job!

    You mention Dylan’s “Idiot Wind” as one of the tracks that could have made it to the UJ but for its length. Because the alternate masters are so very different (the September ’74 version released on “The Bootleg Series, Vol. 1-3” vs. the version included on “Blood on the Tracks”, recorded in December of ’74), I’ve got too ask, which might you have included on the UJ?

  3. jb says:

    The thing about “Mona Lisas and Mad Hatters” (and the whole “Honky Chateau” album) is how Elton sings with such self-assurance, like he knows the songs are great and how good he and the band sound doing them. By the time it was made, he’d had enough success to know it for sure.

  4. Yah Shure says:

    “Ingratiating, smug and coy… truly repellent… sound like oafish boars breaking their backs to be ‘sensitive.'”

    Seriously? Evans spewed all *that* at England Dan & JFC, of all people?? Change the word “sensitive” to “relevant,” and ‘Rolling Stone’ is staring squarely at itself in the mirror.

    Congrats on finishing the UJ project. When does “Son of…” kick off?

  5. whiteray says:

    @ Paco Malo: I’d have to go with the version from “Blood on the Tracks.” The version on the Bootleg Series – from New York – is fascinating, but what sells the song for me is the fury, and the New York take is more sorrowful than anything.

    @ Yah Shure: Yeah, that’s what Evans wrote (with the correcton of “boars” to “bores” – sorry). I’ve read and re-read all four of the Rolling Stone record guides, and that review is the most vicious thing in any of them, I think.

Leave a Reply