Welcome to Part Two of Sounds of Sanity. If you didn't read last weeks post (which you can find here), this is a short discussion where I choose five - ten songs that stood out to me during the week. These might be songs that reoccured in my life this week, or ones that I couldn't shake from my conciosuness. There will be my personal history with the song, as well as factual history included. It will also include unnecessary personal stories of why the song has been chosen for this week. This format is subject to change, take out some of the personal history and hopefully insert what I call "bonus tracks"- which I'll explain later, if I decide to go forth with it. But for now my followers voted for this project so enjoy. And as always, I encourage you to comment and engage below.
This week most of my song choices came to me while I returned to the gym. Then I was too sore to move, but like most things in life, whether it be sore muscle or sore emotions, we must move on. These songs kept me doing just that.
Here are the five songs I have chosen;
Dizzy Miss Lizzy by Larry Williams
(I Think I'll) Just Stay Here and Drink by Merle Haggard
Ophelia by The Band
Right Time by Nappy Brown
The Pretender by Jackson Browne
Dizzy Miss Lizzy
My first time hearing this song was off of The Beatles 1965 album Help! I heard it again when I got a live recording from The Beatles playing The Hollywood Bowl (recorded in 1964 and 1965, but released in 1977).
Originally I had thought it was a Little Richard song. It was raw, it was screeching, and the song had a guitar lick that was inviting - after all Little Richard had one of the greatest guitarist in his band; Jimi Hendrix. Plus, the mop-topped Liverpool Lords had already covered Little Richard in Beatles For Sale (1965) and in their early days with "Long Tall Sally" and "Lucille". Why wouldn't they cover him again? However, the song was never recorded by the "War Hawk", Little Richard. Instead, "Dizzy Miss Lizzy" is a song released and recorded by another signed artist at Specialty Records (Richards label), Larry Williams.
During this quick research, I learned that
A. The actor who played Ritchie Petrie on The Dick Van Dyke Show was named Larry Mathews not Larry Williams.
B. Williams was also the man behind "Short Fat Fannie", a song later covered by Little Richard. As well as, "Bony Moronie", a track I had only heard done by Ritchie Valens.
This week Larry William's came through my headphones while I was crawling on the elliptical. I was hesitant to enjoy it. It had the similar guitar at the beginning as The Beatles cover I was use to. It has an introduction that pulls you in. One that seems to call out, to warn, that you're about to hear rock'n'roll. Good, raw, rock'n'roll. Furthermore, I found the guitar wasn't as clean, I suppose I'll use that word though I'm not sure if I want to, but it wasn't as clean as The Beatles had done it. Perhaps that because there was nearly a decade between the release and The Beatles were recorded by double tracking; a method John Lennon favored both in and out of The Beatles.
I looked for more differences, but John Lennon's vocals stayed true to Williams and the band mimicked the song almost to a T. It was a song, much like "Rock and Roll Music", a Chuck Berry song that The Beatles covered on Beatles For Sale, that allowed John to play with his once adolescent rock'n'roller self. Much like McCartney could motivate a crowd to bottle their sanity when singing Richard's "Long Tall Sally".
I suppose I used the word "hesitant" earlier because I was looking for a twist. Something to separate this version distinctively from the one I was familiar with. It isn't Larry to blame for that, it is The Beatles pre-experimental days and what they could have done to elevate it.
The song itself is not one I love. It's not one I sit down and say "man, Dizzy Miss Lizzy sounds good right now." With that said, this song has made the list for my own educational purposes. For the art of early rock'n'roll. It's not that I don't like the song, its just one that needs to come on when I'm in a "say yes to everything" kind of mood.
"Dizzy Miss Lizzy" however, holds a lot of rock'nroll components. Ones of up beat music, and high fluttering heart patterings. It's a song that exemplifies the motives of early rock'n'roll, sex and simplicity. And like sex, don't complicate it.
You make me dizzy, Miss Lizzy The way you rock and roll You make me dizzy, Miss Lizzy When you do the stroll Come on, Miss Lizzy Love me 'fore I grow too old
Come on, give me fever Put your little hand in mine You make me dizzy, dizz, Lizzy Ooh, girl, you look so fine Just a-rockin' an' a-rollin' Girl, I said I wish you were mine Ah!
For Williams the song peaked at No.69 in Billboard Charts.
I Think I'll Just Stay Here and Drink
This was the first Merle Haggard song I had ever heard. I remember where I was and I remember who I was annoying.
My mom had just moved into my older sister's bedroom, that was then vacant. I was sitting on the floor playing music videos on Youtube. The nights theme was country. I was probably playing Johnny Cash's "One Piece At A Time"; It was a song my brother had a short phase with. It's not important to note, but easily recognized that my mom is not a fan of country music. In fact I'm not sure what she is a fan of. Anyways, Johnny's song ended and...
"Could be holding you tonight..."
This new voice carried through the speakers.
There was no mistake; It was country. There was no mistake; it wasn't Johnny. The voice had a richer tone.
Johnny Cash is molasses, but Merle Haggard is syrup.
Molasses is black, it's what Johnny wore. Syrup is a translucent amber, sometimes too thick to see through, but mostly thin enough to attempt a comforting translation; much like Merle's lyrics. Molasses is stable, it is also a staple. One can find Molasses in both baking goods and savory bites. It's consistency is thicker than syrup, it's more concrete. In fact, some use molasses in mortar mixes. Johnny Cash represents a foundation and stable standby when it comes to country as a genre. This does not mean he was not subject to wild changes and controversy. Syrup is a preserve that goes beyond one consistency, it is not one that easily stays in one spot. For syrup likes to run down the side of pancakes and into craters of waffles. Merle Haggard was on the run since he knew how to tie his shoelaces. Molasses is used to treat those with osteoporosis, heart disease, and blood disorders. Johnny Cash gives his listeners strength, blood pumping, and he sings of hurt but it's a hurt that turns mourning into a message, it's hurt for those who bleed deep when cut. Syrup is found to have high values of zinc, a remedy when one is lost at sea, a sea of insanity (insan-isea?) and zinc helps them find practicality - like in Haggards songs.
And like honey, both musicians pollinated the country with songs that stick to the mind and hearts of the listener.
Earlier this week "I Think I'll Just Stay Here and Drink" shuffled through my playlist. I hadn't heard it in a while but I remembered all the words.
The song was released in 1980 as a single. It became Merle Haggard's twenty-sixth number one in the United States (TWENTY-SIXTH), holding it's place at peak position for a week, and spending another twelve weeks in country charts. The song itself is a drinking song. Unlike "Sweet Blindness" by Laura Nyro in Part One of this series, I read this song as one who's numb. Not by alcohol but by love. It's to the point that the narrator is in a give and take relationship; one where they give and the other takes but is never reciprocated.
"Could quit doing wrong, start doin' right"
For me I read that as, could quit you and start doing something for me. But they're so numb by it all they decided to numb themselves with alcohol.
The narrator goes on to tell the listener that they have explained themselves to their partner ;
"Least you'll know the way I feel"
It's one of those situations where you fall out of love but you go through the motions of being together at the bare minimum. What's worse, being belittled but "in love" or failing at being in love?
Since love ain't here, don't feel no pain My mind ain't nothing but a total blank
There's no feeling anymore. No love, no pain. It's a thoughtless, loveless relationship.
Then perhaps the counter part song would probably be from a woman perspective saying her man's always out drinking, or she never knows where he is. Manipulation of she doesn't feel heard - and she has evidence that he's not listening. Or listening anymore.
"Listen closely you can hear
that loud jukebox playing in my ear
ain't no woman gonna change the way I think
Think I'll just stay here and drink"
There's therapy, folks.
Cheers.
Ophelia
This is the song I would love to hear the most opinions on because I have so many. Keep Reading.
I was a runner years ago; I mentioned this in Part One when Joe Cocker made the list. Along with Joe Cocker, The Band became part of my runs and part of my summer 2014 soundtrack. My dad had bought me The Band CD that we'd play while driving - Me still being too young for my drivers license, but boy if I had it, I'd be zipping through the streets with CDs shaking on the ground and side of the doors.
I remember on runs, "The Weight" would come on and it was my calling to slow my pace a little - to take a load off. One day "Ophelia" began playing, and my form would be mimicking dance steps rather than a stride.
This week The Band came back into my mind as I was passed out on my couch this Easter Sunday. I had just worked my usual eight hour shift and dealing with a bad stomach all day leading me to crash on the couch. I had originally put on the Odd Couple, but ended up rolling over, switching the channel to Forrest Gump - which comes back later in this piece. My parents came in to find me around 8 o'clock. My mom held me and my dad began opening my Easter Basket, one gift at a time. He started presenting me the new sneakers and tea that my aunt and grandmother had given me. He finally, unenthusiastically asked, "The Last Waltz? Do you know what that is?"
Of course I did. For Christmas my aunt and grandmother bought me The Last Waltz CD for my car. It was The Band's last concert, it featured many of my favorite artists, including their once frontman, Bob Dylan, and the raspy, creole crooning Dr. John (who has been one of the soundtracks of this pandemic for me, so look forward to him on these lists).
The Band's last concert was purposely played on November 25, 1976. Nearly a decade after one of their biggest influences, Eric Clapton had left the psychedelic, blues rock group, Cream. Eric Clapton also being featured on the album, along with other esteemed members in both rock and blues history (ahem, Muddy Waters).
When I saw the DVD, "Ophelia" came to mind. Through all these years it's still one of my favorites by them. The song was first released on The Bands sixth studio album Northern Lights- Southern Cross, in 1975. It was written by guitarist and founding member Robbie Robertson.
Now, if I am going to take my stab at reading the lyrics I find "Ophelia" to be more of a friend rather than a lover. If this was a song about a lover I felt that the pleading might have been more emotional.
Jokingly, I actually pull into the relations of Forrest Gump and Jenny. Forrest is hopelessly in love with a woman who only sees him as a friend, and an annoyance. Yet, Forrest is willing to do anything for her. Willing to die for her. The first verse;
Boards on the window Mail by the door What would anybody leave so quickly for? Ophelia Where have you gone?
This reminds me of Jenny's gypsy like ways of always on the run. As well as her childhood home. The home she was abused, physically and sexually in. The home both her and Forrest will return to when they're older to be met with boarded doors and Jenny shattering a window. The mail by the door reminds me of Forrest in Vietnam, writing to Jenny everyday only to get all his letters returned to him.
Now if I'm going to look at this song without my newly Forrest Gump perspective, I would like to look at the verse;
Ashes of laughter The ghost is clear Why do the best things always disappear Like Ophelia Please darken my door
One, the lyrics are gorgeous. Vivid. The Narrator is mourning the loss of their friend. Their memories, their laughter are burnt out. They are no longer tangible. However, phoenix's still rise from ashes - "the second coming" (last verse). "Why do the best things always disappear" Perhaps the the narrator has lost friends or loved ones before; perhaps for being up against the law?
But then... what if its read as one trying to catch Ophelia? The narrator being the friend looking for her safety. The song itself sounds like it takes place in the south. We, the listener, are given a southern style in the music and vocals. It only makes me wonder if this song has something to do with race, with prejudice, and perhaps written in another time.
"Please darken my door"
Merriam Webster Dictionary defines this phrase as;
to go to or appear at a place where one is not welcome anymore.
Sounds a bit segregated in this new lens.
They got your number Scared and running But I'm still waiting for the second coming Of Ophelia
Is this someone tracking her down? Is she on the run, up against the law for being black? The narrator waiting for the second coming, as if to say to return to a less xenophobic neighborhood. It's even specifies "your neighborhood", suggesting the narrator and Ophelia live in separate, segregated neighborhoods.
It's an interesting way to analyze the piece. I would really love others takes on the song.
Here's just a quote I found interesting from author Nick DeRiso;
“The chord progression on ‘Ophelia' was something that could have come out of the 1930s. The storytelling was ancient and modern in the same breath. The full-on modernism in the sound, in the arrangement, was paramount in Garth’s experimentation. It is unquestionably one of his greatest feats, in my opinion, on any Band song.”
The Right Time
My first time hearing this song I thought of The J Geils Band. I thought of their song "Night Time" from their Love Stinks album (1980). But that song itself wasn't an original J. Geils track. It's a song that originally made Billboard Charts (position #30) in 1965 with The Strangeloves, and covered by Dr.Feellove and even George Thourogood. It's the chorus that reminds me of Nappy Brown. Take a listen to The J.Geils version (Time; 0:58 ) - I would note here I chose the J. Geils version because it is the one I am most familiar with, but go with any of the above artist.
It's just an upbeat and rockified twist of what Nappy Brown was lustfully singing.
Compare the two songs.
I come home from work you know I'm tired and I'm beat I run in the kitchen get me something to eat I jump in the shower wash the world off my back I'm gonna get you baby that's a natural fact!
Versus Nappy Brown, whom simply laid the foundation with;
Say now, oh baby
(Night and day) When I come home baby, now (Night and day) I wanna be with the one I love, now (Night and day)
The Strangeloves;
I work like a dog on the job every day I'm tryin' make some money so I can go and play
Nappy Brown;
You know my mother, now (Night and day) Had to die, now (Night and day) And my father (Night and day) Well, he broke down and cry
I compare this saying that the narrator in Nappy Brown's version compares his family life as hard working mother, who nearly broke her back and died working, and father who couldn't afford to simply "go play". But this maybe a stretch in what I'm doing. The songs aren't the same, I'm just comparing for my own headaches.
Now the song itself is a plead by a hard working man who just wants to come home to be pleased and to please his woman. The song is alluring and sultry. It sways and thrusts. It's not a plea like Otis Redding singing "Respect" before Aretha Franklin took it to the feminist, power it became. Redding's character cried in "Respect" for exactly that from his girl. He works hard all day, to watch his money be wasted away and little to no gratification. Nappy Brown, here is coming home with a persuasive argument that it's night, we're suppose to be together, alone, after the day is done.
Both Ray Charles and James Brown released their own versions of the songs that made Billboard R&B charts; Charles at No.5 and James Brown at No.75. Charles version was wildly accepted, it even crossed over placing on pop record charts, as well.
The Pretender
I have a strange appreciation for Jackson Browne. My dad never jumps at opportunities to join me at shows. I've had Tom Petty and The Heartbreaker tickets for him, Bob Dylan tickets, Peter Wolf and The Midnight Traveler tickets, Neil Young, etc. Never wants to go. There are a few shows I have been able to drag my dad to, one was Jackson Browne --- except I didn't have to drag him, he took me up on my offer after I received tickets. So I thank Jackson Browne for giving me that experience. July 2, 2019 in Boston.
The Pretender is a classic Jackson Browne song. It shows lyrics that I could fill this entire blog post with. Simplistic lines such as;
I'm gonna be a happy idiot
and complex ones;
Out into the cool of the evening Strolls the pretender He knows that all his hopes and dreams Begin and end there
The song itself is of face.It's about pretending you're one of the crowd, but recognizing that you don't fit in. The character see's a plethora of human life;
Caught between the longing for love And the struggle for the legal tender Where the sirens sing and the church bells ring And the junk man pounds his fender Where the veterans dream of the fight Fast asleep at the traffic light And the children solemnly wait For the ice cream vendor
The Pretender is aware of the world passing by (it's even mentioned in the song), they are aware of their dreams and what they're missing. They are searching for their desires; the bare minimum. The song mentions just buying a house, packing a lunch, and going to bed (then doing it over again). The Pretender lusts for a lover, a sweet, innocent girl.
Then the song ends with;
Say a prayer for the Pretender Who started out so young and strong Only to surrender
"Surrender" do they surrender to society? Did they stop living how they did when they were young and start living just to merely live?
The song was released on Jackson Browne's fourth studio album The Pretender in 1976.
"It's not me exactly, although sometimes people applaud for me at that moment in the song as if I am, but in truth there is a bit of The Pretender in me, but it's anybody that's sort of lost sight of some of their dreams...and is going through the motions and trying to make a stab at a certain way of life that he sees other people succeeding at. So maybe it's a lot of people of a certain generation who sort of embraced a very material lifestyle in place of dreams that they had that sort of disintegrated at some point."
I encourage you to comment or message me your own thoughts.
Please note that all of these analysis are my own personal takes of the songs. Sometimes it's just me taking songs that simply have no meaning and trying to manipulate one just so I have an excuse to continue to listen.
