Left: E. J. Bellocq 1873-1949 Untitled [Prostitute, Storyville, New Orleans] c1911-13
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I: That girl from Kaintuck
"Georgia, hurry up! He's at Cadle's!"
"Okay, mama," Georgia Turner answers, wiping her hands on a dish cloth. The sixteen-year-old's birthday is today, September 15, 1937. She and her mother walk out of the log house onto the dirt street of Noetown, a poor shanty neighborhood of Middlesboro, Kentucky.
They're going to go sing at Tillman Cadle's house. A man has come down from Washington, D.C. to hear the old music. Mary Gill Turner is known in the neighborhood for her religious songs. The blond-haired Georgia, who always seems to be singing, likes ballads and the blues best.
They pass a muddy Studebaker as they approach the Cadle home. Automobiles are still a rare enough sight in Noetown that Georgia pauses for a moment to look inside. She's never ridden in a car.
The two join the crowd, centered around a young man, not that much older than Georgia. But he's treated with deference, as much for being the master of the bulky piece of machinery he's working over as anything else.
Alan Lomax's Presto disc recorder had been supplied by The Library of Congress for his first solo field recording expedition. The Presto was billed as a portable model, but at 350 lbs, was "portable" only in a copywriter's imagination, handle or not. Lomax traveled with the machine in the back of his Studebaker. In order to record in places where there was no electricity, like Noetown, Lomax used the Studebaker's battery, which he attached to a transformer, which in turn was attached to an amplifier. Lomax was finishing the last connection from amplifier to Presto when Georgia and her mother walked in.
Mary Gill sang a few songs into Lomax's machine, and then it was Georgia's turn. Lomax lifted another of the massive, black, glass platters onto the machine and beckoned Georgia over. She began with an old standard, Married Life Blues. Then she leaned into Lomax's microphone and began another song, first tentatively, then more strongly, as the sadness of the story seemed to take over her voice.
There is a house in New Orleans
they call the Rising Sun.
It's been the ruin of many a poor girl
and me, oh God for one.
II: On to New York and Over the Pond
Georgia Turner's The House of the Rising Sun, which she called Rising Sun Blues, wasn't the first recording of the song; that's probably Clarence Ashley's of 19 and 33, nor the most famous - we'll talk about that one a little later on. But it's the one that inspired most of the later folk renditions of Rising Sun, as well as the Animal's ground-breaking folk-rock version that reportedly caused Bob Dylan to jump out of his car in excitement when he first heard it on the radio.
No one knows where Turner first heard the song. Her home in Noetown didn't have electricity, let alone a radio or phonograph, so it's unlikely that she had heard one of the recorded versions. Ted Anthony, in his recent brilliant book tracking the song, Chasing the Rising Sun, speculates that Georgia may have heard the song direct from Clarence Ashley's lips as he performed it on the medicine show circuit. There's some evidence to back that theory. The song was obviously known in the area and being passed from singer to singer. Three weeks after meeting Georgia Turner, Lomax would be fifty miles north of Noetown and recording a man named Bert Martin, who sang a slightly different version of Rising Sun. Lomax would use Martin's extra lyrics to fill out Georgia Turner's version and credit her with the song in his collection, Our Singing Country, which was published in 1941.
By the late `50s, the song was already a folk standard, having been added to the portfolios of Woody Guthrie, Lead Belly, Josh White, and Pete Seeger, among many others. In 1957 the music, guitar chords, and lyrics were published in Sing Out!, a folk music `zine with an influence far beyond its raw production values. Sing Out! was one of the primary sources for the booming folkie revival of the late `50s and early `60s. If you couldn't lay your hands on an original of the magazine, you'd likely have a mimeograph copy of the song sheets to learn the music for your next coffee house gig or hootenanny.
With changed chords and a descending bass line, Rising Sun became one of Greenwich Village folk icon Dave Van Ronk's signature pieces during the early `60s, impressing the young Bob Dylan so much that he recorded his own take on the Van Ronk version for his first album, Bob Dylan. Unfortunately Dylan waited until after the fact before asking Van Ronk's permission, and Van Ronk had had plans to record the song himself. And even more unfortunately, Rising Sun became so closely associated with Dylan in the folk community that Van Ronk had to stop singing the song or listen to snide remarks that it was a pretty good cover but much too close to Dylan's version.
"Now that was very, very annoying," Van Ronk noted, with just a trace of irony. But Van Ronk would see Dylan himself forced to stop playing the song after the Animals' 1964 mega-hit became the definitive version - an electric rendition based on Dylan's cover of Van Ronk... or was that Georgia Turner... or Clarence Ashley?
III: Another Shot Fired in the British Invasion
About two years after the Animals' release of Rising Sun, I was in my freshman year at a boarding school. One of my dorm mates had taken up the electric guitar, and the first piece of music he learned was the famous seven-note, A-minor chord arpeggio that begins House of the Rising Sun. For a good part of that year, our adult dorm master was treated nightly to an unlikely chorus of seven 14-year-olds soulfully lamenting their misfortune in visiting that house in New Orleans.
There are various stories about where the idea came from - sources claim the Animals decided to record Rising Sun after hearing either Dylan's, or Josh White's, or Nina Simone's versions - but the band knew it needed a memorable signature song for a spring 1964 tour where they would be on the same bill as Chuck Berry and Jerry Lee Lewis. They wanted something that would separate them from the pack and make the audience remember them. Something different, because, as Eric Burdon puts it, "You can't outrock Chuck Berry."
Someone in the band - maybe Eric Burdon, maybe Alan Price, depending on whose story you want to believe - suggested Rising Sun and someone - maybe Alan Price again, if you believe him, maybe the band as a whole - developed the unforgettable electric arrangement.
The Animals joined the Berry-Lewis tour and, in their first night on-stage, closed the first half of the show with their first public performance of The House of the Rising Sun. It was one of those moments that performers dream about but seldom really experience. As the final notes of the song ebbed away and the sole spotlight on Burdon faded into darkness, the audience was silent. Then the applause started, and didn't stop.
The Animals recorded the song on May 18, 1964, under the supervision of an unenthusiastic Columbia label producer, who felt that a four-and-a-half minute single was about a minute-and-a-half too long to have any chance to make it to the charts. He was - of course - dead wrong. House of the Rising Sun would become a trans-Atlantic chart-buster, topping both the U.K. pop singles chart in July of 1964 and the U.S. pop singles chart in September, when it became the first British Invasion #1 hit that wasn't a Beatles tune.
Unfortunately, Rising Sun would generate ill feelings among the Animals that would eventually break up the group and rankle the ex-members to this day. Again, someone - the record is unclear but most fingers point to the group's then-manager - told the band that they couldn't all be credited on the 45 single and suggested they just use organist Alan Price's name alone and sort out the royalty percentages later. It didn't occur to the financially naive musicians until after the fact that they could have used "Trad. Arr: The Animals," but the single was released as "Trad. Arr: Alan Price."
Alan Price's official web site notes, "...Price’s hypnotic arrangement of the band's epic version of The House of the Rising Sun was released in June 1964 and went on to become a worldwide smash..." Eric Burdon acknowledges that Price played a major role in the arrangement's development, but claims that ultimately it was a group effort. Less than a year after Rising Sun hit the charts, Alan Price had left The Animals. Some members of the group suspected he left because he had enough money coming in from Rising Sun to strike out on his own.
The other band members never saw a penny from the publishing royalties. But Rising Sun was never a song to reward its various interpreters very well... at least not with money. Clarence Ashley was probably paid $25 and transportation for his recorded version. Alan Lomax spent a great deal time and effort tracking down Georgia Turner in the early `60s so he could offer her royalties from her 1937 recording. But all in all she probably received less than $1,000.
It's a hard-luck song.
Further Reading/Listening: This article was inspired by Ted Anthony's 2007 book Chasing the Rising Sun, Anthony's journey into the heart of that song, as well as into the heart of America itself. I highly recommend it. I should note that, while based on Anthony's report, my description of the meeting between Alan Lomax and Georgia Turner is a pure product of my imagination, and any errors are mine alone.
Georgia Turner's version of House of the Rising Sun (Rising Sun Blues) can be found on Alan Lomax's Popular Songbook The CD also contains Stagolee, Didn't Leave Nobody But The Baby (later popularized in O Brother, Where Art Thou?), and the original Sloop John B. Popular Songbook is a very good starting point for anyone wanting to explore more of the place I spend much of my time, at least in my imagination, the Old Weird America.
***
You've been listening to the Dreamtime podcast – occasional commentary on Bob Dylan's Theme Time Radio Hour.
Dreamtime is researched and written by Fred Bals and is a Not Associated With production. As the name says, we're not associated with XM Radio, Bob Dylan, or much of anything else.
Some of the music on Dreamtime is provided via the Podsafe Music Network. Check it out at music.podshow.com. The background music for the opening segment was Swing Low, Sweet Chariot, performed by Bill Furner.
Remember that the Dreamtime team loves to get email. You can write us at dreamtimepodcast@gmail.com
The Dreamtime top cats are Curly Lasagna and Shaggy Bear. Our announcers are the notorious honky-tonkin' sisters, Jailbait and Joyride.
Until next time, dream well.
Monday, July 23, 2007
Episode 37 - Chasing The Rising Sun
Saturday, July 21, 2007
South of the Snooty Fox - Produced by Eddie Gorodetsky
(PR) South of the Snooty Fox is the title of the forthcoming album from Sterling Harrison, a veteran soul singer whose approach is the very definition of the term "old school." The album will be released August 21 by HackTone Records, distributed through Rhino/ADA.
South of the Snooty Fox describes an actual geographical location in the inner city as well as serving for a metaphor for the plight of a gifted artist whose professional life was, for the most part, spent out of the spotlight of the mainstream music business. Accordingly, The L.A. Weekly headlined a piece on Harrison "The Best Soul Singer You Never Heard Of."
The album was co-produced by Steve Berlin, long-standing member of Los Lobos and, previously, part of The Blasters line-up. It was co-produced and conceived by Eddie Gorodetsky, the TV writer ("Dharma & Greg," "Two and a Half Men") known for his many forays into music including his role as producer of Bob Dylan's "Theme Time Radio Hour" heard on XM Radio.
Wanda Jackson - I Gotta Know
Another one from the Queen of Rockabilly. The gentleman playing the double-neck Mosrite guitar is Joe Maphis, who backed Rick Nelson and Rose Maddox as well as Jackson and had his own hit with Dim Lights, Thick Smoke (and Loud, Loud Music).
Saturday, July 14, 2007
"15, 16, 17... that's Jailbait"
Mr. Andre Williams live. When my partner in crime first heard this on the Jail episode, she immediately took the name. Her sister later decided her name was really Joyride... and thus the Dreamtime announcers were born
Wednesday, July 11, 2007
Episode 36 - Stagger Lee Shot Billy
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THEFT OF STETSON HAT CAUSES DEADLY DISPUTE, VICTIM IDENTIFIES SELF AS FAMILY MAN
Harry Smith
The city. You're in St. Louis.
How? Are you dreaming? Maybe you are, because you keep on sighting images and scenes that make no sense, that shouldn't be in this world. You see a man by an open grave pulling the rings from a dead woman's fingers. A heavyset speaker on a podium is declaiming his views on tariff laws when an assassin dashes up and shoots him in the belly.
There's a track parallel to the street, and a freight train suddenly appears, moving much too fast, the half-seen engineer pulling down the whistle cord in a long, piercing scream. It disappears back into the night. A few seconds later the street is shrouded in fog, and you glimpse what looks like the prow of an enormous ship passing by, even though there isn't any body of water that could float it within a thousand miles. The fog conceals the ship again before you can see any more than the last few letters of its name -"ANTIC."
You step out of the street, out of the madness, into the welcome lights of a bar, although it has the ominous name of The Bucket of Blood. But by this time you don't care, you just want a drink, company, voices, music.
There's a piano with a player banging out fast ragtime. The room is crowded, loud, filled with smoke. You push your way to the bar, order a beer, and turn as you hear voices raised, chairs pushed away, the crowd scattering to open a space for two men. One is holding a Stetson hat away from another, larger man.
"Give me back my damn hat!" he shouts.
"You son of a bitch, I'm going to make you kill me," the smaller one replies, reaching into his jacket. And the tall man dips into his coat too, bringing out a pistol, and shoots four times.
"I told you to give me my hat," Lee Shelton says to the lifeless body as he reaches down to retrieve his Stetson.
[Stackalee - Frank Hutchinson]
Billy DeLyon told Stagolee, "Please don't take my life
Greil Marcus calls it the Old, Weird America. Ted Anthony calls it the Village. I think of it as an interzone, a place where reality and legend collide, a place where a pretty young woman named Polly, the 25th President of the United States, and train engineer John Luther Jones all live out their days and meet their deaths, and the Old 97 and the Unsinkable Ship are the usual mode of transportation.
It's a place where a briar and a rose grow together in a graveyard, and eventually entwine into a lover's knot. It's where a boy and girl - neither much more than children - throw a bundle from a bridge each day. The boy returns later in the night and will follow it into the dark waters.
The interzone. It's where all the songs start.
According to the records Lee Shelton, both known as "Stag" and "Stack" Lee, walked into the Bill Curtis Saloon, located in the epicenter of what was then St. Louis's thriving vice district. The saloon was a few blocks away from a notorious bordello called The Bucket of Blood.
Lee Shelton was a pimp, and reportedly something of a loner, either of which may have earned him the "Stag" nickname. But there's some evidence that he called himself "Stack" after the riverboat Stack Lee, part of the Lee Line of riverboats, known as Cecil Brown relates in Stagolee Shot Billy, "...for speed, sumptuous cabins, elaborate cuisine - and prostitution."
At the bar, Shelton asked "Who's treating?" Someone pointed to Billy Lyons. Shelton sat at his table, where, according to several witnesses, they drank companionably until the talk turned to politics. They started throwing blows at each other's hats, Shelton eventually breaking the brim of Lyon's derby.
In turn, Lyons grabbed Shelton's Stetson, saying he wouldn't return it until he was paid for his damaged hat.
Shelton pulled a .44 Smith & Wesson revolver, shot Lyons, took the Stetson from his hand, and walked out of the bar back to his boarding house. He was arrested the next morning.
[Stagolee - Mississippi John Hurt]
There are hundreds of different versions of the song, variously called Stagger Lee, Stagolee, Stackerlee, Stack O'Lee, Stack-a-Lee and several other spellings, sung by musicians as far apart in style as W.C. Handy (Stack O'Lee) and The Clash (Wrong `Em Boyo).
Here's a cowboy swing version from 19 and 51, this one with the title of Stack-O-Lee, sung by Mr. Sixteen Tons himself, Tennessee Ernie Ford.
[
Stack-O-Lee - Tennessee Ernie Ford] Tennessee Ernie started off his career as a disc jockey in California in the `40s, and ended up with several chart hits under his belt, including I'll Never Be Free, a duet with Kay Starr, and his signature tune...
[Sixteen Tons excerpt]
Other artists who have recorded Stagger Lee under various titles include Bob Dylan, Taj Mahal, Duke Ellington, Woody Guthrie, Bill Haley & His Comets, Ike and Tina Turner, Fats Domino, Doc Watson, Dr. John, The Isley Brothers, and Huey Lewis And The News. One of the more notable alternate universe versions of the story was written by Robert Hunter for the Grateful Dead, where Billy's wife, Delia, hunts down down Stagger Lee and has her revenge.
[Stagger Lee - Lloyd Price]
In 19 and 59, Stagger Lee became a number one hit for Lloyd Price, selling million of copies and topping both the pop and R&B charts for a full month. At one point the single sold over 200,000 copies in one day.
Lloyd Price recorded his first Stagger Lee on September 11th, 19 and 58 as the B side of what he thought would be a hit single, You Need Love. But You Need Love flopped, while deejays thought Stagger Lee was a gas, especially with its novelty of having white backup singers behind a black lead.
Stagger Lee was on the charts by December 8th 19 and 58, and was heading nowhere but up. But Price had gone back into the studio four days earlier to record another version. Why? The story gets a little fuzzy at this point, but like Stagger Lee's nemesis, Billy, there's always one name associated with Lloyd Price's alternate version of Stagger Lee - Dick Clark.
[American Bandstand theme]
Most stories have it that Clark felt lyrics like the bullet went through Billy and it broke the bartender's glass inappropriate for American Bandstand's teen audience, and that he was the one who requested - or commanded - that Price castrate ol' Stagger Lee if he wanted to appear on the show. But at least one report has it that Price had already sung the original version at least twice earlier on both Bandstand and The Dick Clark Show with no objection from Clark.
It may have been that as the song's popularity and airplay increased, Price and/or his label, and/or Dick Clark (and/or the ABC network) may have become nervous about the complaints - many organized by the then very powerful "League of Decency"- that were pouring into radio stations about Stagger Lee's content, and someone may have decided that Price's next Bandstand appearance was the perfect time to roll out a more kid-friendly version.
What we do know is that Price rewrote and recorded the alternate version on December 4th, 1958, possibly with tongue firmly in cheek. In the new song Stagger Lee and Billy just exchange harsh words rather than gun play, Stagger retires with hurt feelings, and the two later make up. The song also includes the memorable closing lines...
Stagger Lee and Billy never fuss or fight no more
Because he got back his girlfriend and Stagger Lee was no more sore
[Stagger Lee (Bandstand Version) - Lloyd Price]
The reworked track, officially titled Stagger Lee (Bandstand Version), was reportedly intended for use only on the show, as Price gamely lip-synched the changed lyrics without breaking up. However, while never officially released, the revised single did somehow make its way out to radio stations, lending credence to the theory that it had always been intended as an alternative version for airplay. "So, you say you're getting complaints about Stagger Lee? Play this version instead. Hell the kids don't listen to the words anyway... just as long as its got a good beat, and you can dance to it."
[A Word from Our Sponsor]
There are many strange versions of Stagger Lee, but one of the strangest may be one from 19 and 28, recorded by Cliff Edwards, better known then as "Ukulele Ike," and best remembered now as the voice of Jiminy Cricket in Walt Disney's Pinocchio. Whether you realized it or not, you've almost certainly heard Edwards at least once, singing When You Wish Upon a Star.
Here's Ukulele Ike with Stack O'Lee. [Stack O'Lee - Ukulele Ike (Cliff Edwards)]
A forgotten son of Hannibal Missouri; the man who introduced the song Singing in the Rain on screen in 19 and 29; featured in more than 100 movies; star of his own radio show and frequent guest on The Mickey Mouse Club, Cliff Edwards would die alone and penniless in California in 1971. His unclaimed body was first donated to the UCLA hospital, but - in a semi-happy ending - was later purchased and buried by the Walt Disney Company.
[When You Wish Upon a Star (excerpt) - Cliff Edwards]
The Stagger Lee story is also popular in the black community as a "toast." Not the type the white community is familiar with hearing at weddings - but a ribald, recited story in verse, precursor to rap, and usually performed solely for family and friends at stag parties. The speaker takes on the role of Stagger Lee, boasting about his badness and exploits with women, and always ending with Billy Lyons dead on the floor, victim of the speaker's still-smoking .44. Samuel L. Jackson performs a cross between song and toast in the movie Black Snake Moan, in a version of Staggolee based on R.L. Burnside's original.
[Stack-O-Lee - Samuel L. Jackson]
Recommended Reading:
Stagolee Shot Billy by Cecil Brown; the definitive book on the song and the real people behind the song. Highly recommended to all who love music history.
Stagger Lee written by Derek McCulloch and drawn by Shepherd Hendrix. Largely based on Brown's non-fiction book, McCulloch and Hendrix blend fact and fiction to tell one and more possible stories about Lee Shelton. Also highly recommended, especially for those that still feel graphic novels are just "comic books." Also worth checking out are Derek's blog largehearted boy and the graphic novel's "official" blog, Stagger Lee.
Top image: "John Canoe (with guitar) and friends," July 1935, by Alan Lomax. Public domain via the Library of Congress, Prints and Photographs Division, Lomax Collection.
***
[Background - Stack O Lee Aloha - Bob Brozman]
You've been listening to the Dreamtime podcast – occasional commentary on Bob Dylan's Theme Time Radio Hour.
Dreamtime is researched and written by Fred Bals, and is a Not Associated With production. As the name says, we're not associated with XM Radio, Bob Dylan, or much of anything else.
Some of the music on Dreamtime is provided via the Podsafe Music Network. Check it out at music.podshow.dot com. The background music for the opening segment was eve, performed by Josh Roydhouse.
Remember that the Dreamtime team loves to get email. You can write us at dreamtimepodcast@gmail.com
The Dreamtime top cats are Curly Lasagna and Shaggy Bear. Our announcers are the notorious honky-tonkin' sisters, Jailbait and Joyride.
Until next time, dream well.
Monday, July 09, 2007
Sister Rosetta Tharpe - Didn't It Rain
Way back from TTRH #1, "Weather." Gospel's first national star, Sister Rosetta Tharpe.
Tharpe also makes a an appearance in the "Friends and Neighbors" episode, with Our Host mentioning her attracting 25,000 paying customers to her wedding to her manager Russell Morrison, followed by a performance at Griffith Stadium in Washington, D.C. in 19 and 51.
Tuesday, June 26, 2007
The indisputable leader of the gang
Reader/listener Carol passed on this exhaustive article from the priceless WFMU's Beware of the Blog on Arnold Stang, who among many other things in his comedic career voiced the lead character of the cartoon Top Cat, whose TTRH connection we talked about way back in August of 2ooo and 6.
As the article notes, Stang had a weird and wacky career, with turns in everything from the straight drama The Man With the Golden Arm (playing opposite Frank Sinatra), to roles on Bonanza and Wagon Train, to a wonderful battle (aided by the equally funny Marvin Kaplan) with Jonathan Winters in that hommage to slapstick and vehicle for nearly every comic working before or during 1963, It's a Mad Mad Mad Mad World.
As a piece of useless trivia for IaMMMMW fans, I lived at the Palos Verdes compound where the Big W was located, although it was seven years after the filming. The Big W had been damaged in a wind storm before my tenure, and more resembled a Big Lopsided V than W by that time.
Thursday, June 14, 2007
More, More Louie, Louie
Reader/listener Geoff passed on this link to a BBC Music Club documentary on Louie, Louie, Louie and the G-Men, which kinda made me wish Dreamtime had the resources of the Beeb at our call, too.
The show is hosted by "Little Steven" Van Zandt, who seemingly like every other rocker in the world, has his own radio show too, although none are as good, or as quirky, as TTRH. Little Steven's Underground Garage (warning: link will take you to an audio Flash site which - while work-safe - could be embarrassing) is a pretty good show, with a nice mixture of new and old music. A nice representative example is Episode 268 (scroll down a bit):
It is May in America. Do you know what that means? That’s right, it’s Bob Dylan’s birthday, and helping us celebrate in the Underground Garage this weekend is Gary U.S. Bonds, the Beatles, the Turtles, the Faces, Jason & the Scorchers, and of course, the Byrds. We’ve got the newest, coolest music being made on the planet from Peachfuzz, the Len Price 3, Black Rebel Motorcycle Club, the Contrast, Mary Weiss, the Woggles, and the White Stripes. Find out about Bob Dylan’s garage band in high school. Find out who his favorite bands where when he was a juvenile delinquent. And find out what Al Kooper, Steven Stills, and Mike Bloomfield have in common. It’s Bob Dylan’s million dollar bash and rock and roll dance party, this weekend in the Underground Garage.
Saturday, June 09, 2007
Ollabelle - Ain't No More Cane
Dylan played Ollabelle's Elijah Rock on the Bible episode of TTRH. Ollabelle is comprised of Byron Isaacs, Tony Leone, Fiona McBain, Glenn Patscha and, Amy Helm, daughter of The Band's Levon Helm. More info on Ollabelle and their roots can found in Episode 18- High on a Mountain.
Friday, June 08, 2007
Tiny Tim w/Eleanor Barooshian - I Got You Babe Plus The Cake - You Can Have Him
Regular readers/listeners know of my fondness for Tiny Tim. I share Dylan's opinion that when Tim passed away we lost a treasure house of musical knowledge.
Here's Tim in a rare clip from Peter Yarrow’s You Are What You Eat performing a duet of the Sonny and Cher classic with Tim taking the female lead and Eleanor Barooshian the male part. Although unseen, the backing band is The Band.
On his album, God Bless Tiny Tim, Tim would perform both the male and female vocals. The YouTube description notes that Ms. Barooshian (now working under the name "Chelsea Lee") was a member of `60s girl group The Cake. According to their Wikipedia entry their two Decca Records albums are set to be re-released on CD in 2007 by Rev-Ola Records. The surviving two members of The Cake also have a MySpace Page here.
And here is just a wonderful video of The Cake performing You Can Have Him on the Smothers Brothers Comedy Hour in August of 19 and 67...
Tuesday, May 29, 2007
Summer Vacation
Summer is on the land, and the Dreamtime Top Cats Curly and Bear (Bear pictured to your left mind-melding with the laptop) say that means it's time for a well-deserved break.
We'll be taking the months of June and July off from a podcasting and blogging standpoint, although we'll still be posting the occasional video as time and tide permit.
The Top Cats, the Jones sisters - Jailbait and Joyride - and Your Dreamtime Host, Fred, want to thank all of our listeners/readers for your support and encouragement. You make the show a joy to do, and we hope you enjoy it as much as we do.
The Sweet Hollywaiians - Milenberg Joys
One of the pleasures of doing Dreamtime is that I never know what's going to show up in the ol' email box. Back from a Memorial Day trip, I found an email from a Nobumasa Takada, one of the members of The Sweet Hollywaiians, a group that plays music in the tradition of of the 1920s and 1930s, as well as Hawaiian tunes. swing, calypso, and even Italian songs. The other band members are Tomotaka Matsui, Takashi Nakayama and Kouichi Tsutsumishita.
The Sweet Hollywaiians sound as if they'd fit comfortably into any Theme Time play list, and are worth your attention if you're a fan of sweet, hot jazz. Nobumasa noted in his email that they recently played with Tom Marion, of the Cheap Suit Serenaders, and that the band will have their first CD out at the beginning of July. More information (mostly in Japanese) at The Sweet Hollywaiians home page.
Wednesday, May 23, 2007
Gladys "Fatso" Bentley - "Them There Eyes"
An inquiry from an Austin, TX PBS station on sources for the Juneteenth Jamboree episode I did way back in July 2000 and 6 had me thinking about Gladys "Fatso" Bentley again.
As I mentioned back in Episode 6, "Fatso's" - whose Juneteenth Jamboree Dylan played on the Summer episode of TTRH - real name was Gladys, and she was described in various reports as a bull dagger lesbian and/or male impersonator singer.
Bentley was one of the stars of Harlem during the 1920s, performing at speakeasies and gay hangouts such as the Clam House, once described in the press as "not [a place] for the innocent young."
Bentley eventually moved to California, where she sang in lesbian bars around Los Angeles and San Francisco, and in 1950 made guest appearances on Groucho Marx's TV show, You Bet Your Life. The following link - or clicking on the image - (embedding of the video was disabled, unfortunately) will take you to a most wonderful clip of one of Bentley's You Bet Your Life performances, as she plays a barrelhouse version of Them There Eyes, while Groucho and a "charming lad from Guatemala" dance away.
Sunday, May 20, 2007
"Love And Theft" promo
A couple of Theme Time connections here. The dealer is Ricky Jay, magician, connoisseur of cons, card trickster, and member of Dylan's posse (who incidentally has a wonderful CD compilation, Ricky Jay Plays Poker, which could have been the play list for a Theme Time show), and the bald player in sunglasses is Eddie Gorodetsky, producer and probable announcer of TTRH.
Interesting poker hand going on here. Eddie G. is holding four 9s, and Mr D. the King through 10 of Hearts. With a significant look at Ricky, Dylan throws away a club, and Ricky deals him the Ace of Hearts, and the Royal Flush nutz. However, a woman enters the room (a commenter at YouTube speculates it's actress Laura Harring), more significant looks are exchanged, and the two women players at the table suddenly attack Dylan. Ricky and Eddie grab for the pot and the mucked cards.
Dylan reseats himself and smiles at Jay, who returns it, so they're apparently happy at the outcome. But why? Who knows? In the art of the con maybe this was the set-up for a larger con.
Wednesday, May 16, 2007
Episode 35 - Cooking (and Drinking) with Bob
Episode 35 - Cooking (and Drinking) with Bob
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Today on Cooking with Bob, Mint Juleps! Rum and Coca-Cola! Barbecue! Beer! Figgy Pudding! And Bob's Mom's Banana Chocolate Chip Loaf Bread!
[French Chef Theme]
"Bob, it's always a pleasure. What would you like to start with on today's show?"
“The world of liquid libation, booze, sauce, hooch, white lightning, firewater hard stuff, pick me up, gin and juice. moonshine, canned heat.”
"Sounds pretty ah, sodden. So, what's your favorite mixed drink?"
"Get ready with your pencil now!"
From Drinking:
Bob's Mint Julep Recipe:
4 mint sprigs
2 ½ ounces of bourbon (“I prefer 3”)
1 Tablespoon powdered sugar
1 Tablespoon water
Put the mint leaves, powdered sugar, and water in a Collins glass. Fill with shaved or crushed ice. Top with bourbon and more ice. Garnish with a mint sprig.
“Two or three of those and 
anything sounds good!”
"Now that's a good Summer drink, Bob. But I'm more of a Rum and Coca-Cola man myself. You wouldn't happen to have a good recipe for that old classic, would you?"
From Drinking:
Bob's Rum and Coke Recipe:
1 tall glass, filled with ice
2 fingers of "Bombay" rum
1 bottle of Coca Cola
“Shake it up well and go drink it in the sunshine!”
"Wait a second. I've never heard of 'Bombay rum.' Do you mean 'Bambu'?"
"Bombay rum!"
"Okay, you're the chef. Listen, after a couple of those, I'm going to need something solid on my stomach. I heard you do a mean barbecue. Care to share your secret recipe?"
From "Tennessee"
"There's a lot of good barbecue in Memphis. Here's a recipe I gave the guys over at the Rendezvous."
1 cup vinegar
5 tablespoons Worcestershire Sauce
1 tablespoon butter
½ small onion
a dash of black pepper
some cayenne pepper
1 ½ teaspoons salt
½ cup water
Mix it all together in large pan
bring to a quick boil
reduce the heat and let simmer 10 minutes
“You can also figure out your own secret ingredients and dump it into the mix. I like about three fingers of Tennessee sippin' whiskey.”
"I saw our friend Hank enjoying a beer with that barbecue. What beer do you recommend to go with it?"
"Don't know what kinda beer Hank was drinking, but it could have been Michelob Lite, or Rolling Rock, or Beck's, or Dos Equis, or Irish Red, or Murphy's Stout, Perhaps it was Newcastle Brown Ale, or Sierra Nevada Pale Ale, or Stella Artois, or possibly Corona. Whatever he was drinking, it's some kind of beer that has that single throw switch that old Hank likes."
[A Word from Our Sponsor - Frito-Lay]
"We're back with Our Host, and after a fine meal of barbecue, I'm ready for some dessert. Bob, what do you have planned?"
"Earlier in the show, I told you to go get a pencil. Well, you all going to use it now. I got a lot of letters about this. Here's my recipe for Figgy Pudding."
From Christmas & New Year:
4 oz of plain flour
a pinch of salt – just a pinch!
4 oz bread crumbs
4 oz shredded suet
1 teaspoon mixed spice
1 teaspoon baking powder
3 oz dark soft brown sugar
8 oz chopped dried figs
finely grated rind & the juice of 1 lemon
2 tablespoons milk
2 beaten eggs
Sift salt and flour together, then mix with the remaining dry ingredients. Add the figs, lemon rind and juice, milk, and beaten eggs. Beat well. Mixture should have a soft dropping consistency. Put into a greased 2 pint pudding basin, cover securely and steam for 3 hours. Bob, we want to thank you for today's show, and wish you a great 66th birthday this coming May 24th.*
*Dreamtime wants to thank reader Carol B. for gently pointing out that I had missed Dylan's birthday by two days in the original post - you can still hear the mistake in the podcast. Given that I made the same error with Lord Buckley's birthday, and regularly get dates mixed up, I've decided I have some weird form of dyslexia that only involves dates. Thanks again, Carol!
"To close out the show, here's a recipe from your Mom, Beatty, first published back in 19 and 99 in the Duluth News. Your mom said the recipe was "no-fail" and took only a minute to make:
1 cup granulated sugar1/2 cup (1 stick) butter or margarine, softened
2 eggs
4 tablespoons sour cream
2 ripe bananas, mashed
2 cups all-purpose flour
1 1/2 teaspoons baking powder
1 teaspoon baking soda
1 (6-ounce) package chocolate chips (or up to 12 ounces, if desired)
2 medium disposable foil loaf pans (about 8-by-3-by-2 inches)
Preheat oven to 350 degrees. Cream together the sugar and butter. Add the eggs and beat well. Add the sour cream and ripe bananas; mix well. In a separate bowl, combine the flour, baking powder and baking soda. Add the dry mixture to the sour cream mixture, then fold in the chocolate chips. Divide the batter between two greased loaf pans. Bake for about 50 minutes. Turn the loaves out on to cooling rack or aluminum foil as soon as they're done.
"Well, the kitchen timer is ringing, and that means it's time for us to start cleaning dishes. See you again real soon on your other home for dreams."
Sources: Annotated Theme Time at the Bob Dylan Fan Club; Dinner for a Song
***
You've been listening to the Dreamtime podcast – occasional commentary on Bob Dylan's Theme Time Radio Hour.
Dreamtime is researched and written by Fred Bals, and is a Not Associated With production. As the name says, we're not associated with XM Radio, Bob Dylan, or much of anything else.
Some of the music on Dreamtime is provided via the Podsafe Music Network. Check it out at music.podshow.dot com. Our closing theme is performed by Lounge Affaire, courtesy of Christopher Murphy Studio.
We love your email and you can write us at dreamtimepodcast@gmail.com
The Dreamtime top cats are Curly Lasagna and Shaggy Bear. Our announcers are the notorious honky-tonkin' sisters, Jailbait and Joyride.
Until next time, dream well.
Wednesday, May 09, 2007
A Dreamtime/Lord Buckley Mashup
Courtesy of the folks over at lordbuckley.com, who laid the following riff down and did the very nice graphic mashup to your left ...
Play Me Some Beautiful Dreamtime, My Dear PrinceAnd Dreamtime's thanks too, to the Marquis and the Keepers of the Flame.The Marquis De Roger Mexico, that intrepid Lord Buckley documentarian, has hipped LBC to a swingin' Semantic and Lobe Podcast celebrating His Lordship's Century Plus One Natal Day Swing. There is a website called "Dreamtime", a particular storyteller cat tagged Fred Bals and a segment called "Episode 32 - Dig Infinity! A Passion Play in 4 Acts" You cats and kitties that dig the modern flip and yaw of techology will be gassed by the combination of text and audio events happneing on the virtual page right before your very own peepers. There is a direct link to the MP3 file of the program. Dig that jive!
So if Your Grace twists the antennae of Your Considerable Attention to the following coordinates you can dig the riff.
click here for Dreamtime
Many thanks to the Marquis for, once again, enlightening the populance .
Monday, May 07, 2007
Dry Your Eyes - The Streets
We've started going back through the old Theme Time episodes and discovering/rediscovering some great music missed the first time around. This pretty, sad song by The Streets is from Episode #15 - Eyes
Monday, April 30, 2007
Episode 34 - He Was a Graveyard Smash
Episode 34 – He Was a Graveyard Smash
Direct link to mp3.
Subscribe to Dreamtime
Use the Dreamtime Player
Here's what Bobby Pickett had to say about creating "Monster Mash"…
"Like me, Lenny was a major horror movie fan from childhood… We'd both seen how the audiences had loved it when I was with The Cordials and we'd sing 'Little Darlin' and I did the monologue in the middle of the song in Boris Karloff's voice. We agreed that the Karloff voice was the most obvious one to tell the story. And what was the story?
'Well,' Lenny suggested, 'Maybe the Frankenstein monster should start a dance craze.'
And a hit was born. Bobby "Boris" Pickett passed away last Wednesday, April 25, 2007 at age 69. "Monster Mash" wasn't Pickett's only song to make it to the charts; he had two others, "Monsters Holiday" and "Graduation Day," but it was the graveyard smash that would define his life. Not only did "Monster Mash" make it to the top of the Billboard charts in 19 and 62 , but the song also re-took the charts in August of 19 and 70 and May of 19 and 73, joining "White Christmas" and "The Twist" as one of only three songs to ever reach the charts three separate times.
A Somerville, Massachusetts native, Pickett was a high school basketball star in the ’50s who wanted to become a Hollywood actor.
"His dad worked at a movie theater," said deejay Paula Street, who knew and liked Pickett, "and that’s where he picked up the Boris Karloff impression he does in the song." As a high school basketball player, Pickett would sometimes relieve pre-game pressure by doing impersonations of Karloff for teammates.
After a stint in the army, Pickett moved to Hollywood in the early `60s, never really making it as an actor, but still appearing in several TV shows, such as "The Beverly Hillbillies" and "Petticoat Junction" as well as several Z-grade movies including "Lobster Man From Mars," which also featured Tony Curtis.
Pickett was also part of a transplanted Somerville vocal group called The Cordials, which had followed him to L.A.
"I was doing stand-up comedy as an impressionist, doing characters including Peter Lorre and Boris Karloff," Pickett said in a 1992 interview. "The Cordials would do [the Diamonds' hit] 'Little Darlin', and as a joke, I started doing the recitation in Karloff's voice."
[Little Darlin']
Inspired by the then red-hot "Mashed Potato" dance craze, Pickett and Somerville buddy Leonard Capizzi wrote "Monster Mash" in a half-hour one Saturday afternoon. Pickett was also the one behind the song's sound effects. The creaky door at the beginning was a nail pulled from a piece of wood and the boiling cauldron was Pickett blowing bubbles in a cup of water with a straw.
The recording session was supervised by producer Gary Paxton, who'd already had one novelty hit in 19 and 57, with the Hollywood Argyles' "Alley Oop." Paxton came up with the idea of calling Pickett "Boris" and the backing band, "The Crypt-Kickers." The Crypt-Kickers included members of Ronny and the Daytonas, the Ventures, the Bermudas, and Leon Russell, yes, the Leon Russell, on piano. A top studio session player of the `60s, Russell's piano would also be featured on Herb Alpert's mega-hit album of 19 and 65, "Whipped Cream & Other Delights," as part of the then non-existent except in the studio "Tijuana Brass."Done in one take, "Monster Mash" was rejected by every major label it was pitched to. But not discouraged, Paxton pressed one thousand copies of the record and drove up and down the coast, hawking the song to every radio station on the way. The strategy paid off, shooting "Monster Mash" to Number #1 on the charts in just eight weeks.
"Monster Mash" has sold over four million copies and has been included on countless compilations, soundtracks and television shows. It's been covered by the Beach Boys, the Bonzo Dog Band, Sha Na Na, and by "Monster Mash" fan Boris Karloff himself on the TV show Shindig! in October of 19 and 65.
"Maybe I haven't made millions but I have been paying the rent for years with this one song," Pickett once said. "When I hear it, I hear a cash register ringing."
And somewhere in a special spot of heaven reserved for beloved monsters like Frankenstein and the Wolfman, the ghoulies and ghosties are doing the Transylvania Twist.
Sources: The Monster Mash site; "Hub crooner lovingly created a 'Monster.'" - The Boston Herald; 14 Reasons Why Bobby "Boris" Pickett Was Cool; Obituary from The Independent; Monster Mash trivia and information; Wikipedia.
***
You've been listening to the Dreamtime podcast – occasional commentary on Bob Dylan's Theme Time Radio Hour.
Dreamtime is researched and written by Fred Bals, and is a Not Associated With production. As the name says, we're not associated with XM Radio, Bob Dylan, or much of anything else.
Some of the music on Dreamtime is provided via the Podsafe Music Network. Check it out at music.podshow.dot com. Our closing theme is performed by Lounge Affaire, courtesy of Christopher Murphy Studio.
We love your email and you can write us at dreamtimepodcast@gmail.com
The Dreamtime top cats are Curly Lasagna and Shaggy Bear. Our announcers are the notorious honky-tonkin' sisters, Jailbait and Joyride.
Until next time, dream well.
Friday, April 20, 2007
Betty Boop & Louis Armstrong - I'll Be Glad When You're Dead, You Rascal You
As noted by Our Host in the Death and Taxes show....
Wednesday, April 18, 2007
Season Two of Bob Dylan's Award-Winning XM Music Show to Debut in September
Good news (in both senses) for me. On the one hand, I get to continue Dreamtime, which I've had more fun writing than anything I've done in say, oh, the past 20 years or so. I was already planning on doing a new - non-Theme Time Radio Hour-based - podcast, probably to have been titled Old Weird America, if Dylan had decided to end TTRH with today's Show 50. But I'm not sure it would have been as much fun without being able to riff off something Dylan has said on air. On the other hand, I - and my equally obsessive peers at the Expecting Rain forums, the Annotated Theme Time Radio Hour, and elsewhere around the Web, all can use a well-deserved Spring/Summer break to recharge our TTRH batteries, as I assume Our Host will be doing too. I'm only at Show 33 with Dreamtime, and would like to get to 50 before Mr. D. comes back on the air in September. Here's the Press Release... via PRNewsWire and Yahoo Finance: Wednesday April 18, 10:00 am ET WASHINGTON, April 18 /PRNewswire-FirstCall/ -- Bob Dylan's award-winning XM music show, "Theme Time Radio Hour," will return to XM with all-new episodes in September, it was announced today. The new season will feature the show's signature eclectic mix of songs related to a specific theme, along with entertaining stories about the music and topics of interest. In addition, fans of "Theme Time Radio Hour" can expect to hear contributions from more special guests during the second season, including Ellen Barkin, whose sultry voice has heralded the start of each "Theme Time" episode since its debut last year. Dylan's critically-acclaimed weekly show wraps-up its first season today with a special two-hour episode. Devoted to the theme "spring cleaning," the season finale features a diverse list of artists that spans from Memphis Minnie to Tom Waits and Roy Orbison to Igor Stravinsky, among many others. Following the show's first-anniversary on May 3, XM will air a "Theme Time Radio Hour" marathon during Memorial Day weekend, broadcasting every episode from the first season of Dylan's "Theme Time Radio Hour" back-to-back, beginning May 26 at 6 p.m. ET on The Village (XM 15). In May 2006, Bob Dylan's "Theme Time Radio Hour," debuted to popular and critical-acclaim exclusively on XM. Rolling Stone calls the show "revelatory ... Dylan's song choices are impressively varied," and the Boston Herald says of Dylan as DJ, "he's informative, funny ... his taste is impeccable." Among the shows myriad accomplishments of the past year, the National Baseball Hall of Fame and Museum added the "baseball" episode of "Theme Time Radio Hour" to its archives in June 2006. Dylan is one of music's most iconic performers. He has released more than 45 albums containing more than 600 songs that have been covered by more than 2,000 different artists ranging from The Rolling Stones, Stevie Wonder and Guns N' Roses to Duke Ellington, Garth Brooks, Pearl Jam and Rage Against the Machine. His last four albums have been critical and popular successes with 1997's Time Out Of Mind garnering three GRAMMY® Awards, including Album Of The Year. In 2001, he won an Academy Award® and a Golden Globe® for the song "Things Have Changed." In 2004 his best selling memoir, Chronicles Volume 1, spent 19 weeks on The New York Times' Best Sellers List. Last year, Dylan received mass critical praise for his latest studio release "Modern Times," which had its world premiere on XM in August 2006. Certified Gold by the Recording Industry Association of America (RIAA), "Modern Times" debuted at number one on the Billboard Top 200 Chart and became Dylan's first number one album in 30 years. "Theme Time Radio Hour" airs Wednesdays at 10 a.m. ET on XM's deep classic rock channel, Deep Tracks (XM 40), with additional encores airing throughout the week on both Deep Tracks and XM's dedicated folk music channel, The Village (XM 15).Complete show details are available online at http://www.xmradio.com/bobdylan.
Friday, April 13, 2007
Episode 33: Oh Baby, Me Gotta Go
"I've recorded songs in my garage. Am I a 'garage band'?" - Bob Dylan, Theme Time Radio Hour Friends & Neighbors
Direct link to mp3.
Subscribe to Dreamtime
Use the Dreamtime Player
This month is the 50th anniversary of the first recording of inarguably the greatest garage band song ever written, and what better way to celebrate than with this rare clip of Dylan and Tom Petty doing a sound check at Farm Aid 1985 with a rocking - if very muffled - "Louie Louie." Check out the Dreamtime blog (that's right here) for a better watching experience of the YouTube video.
1985 was the year of the first Farm Aid, a benefit spurred by a comment Dylan made at Live Aid earlier that year,
"I hope that some of the money...maybe they can just take a little bit of it, maybe...one or two million, maybe...and use it, say, to pay the mortgages on some of the farms and, the farmers here, owe to the banks...."Willie Nelson, John Mellencamp, and Neil Young took Dylan's comments to heart, and in September 1985, the first Farm Aid concert was held in Champaign Illinois. The annual benefit continues, with Nelson, Mellencamp, and Young still performing.
With the possible exception of Paul McCartney's "Yesterday," "Louie Louie" has been covered more than any pop song in history - over 1,000 different versions, according to louielouie.net. In fact, a college radio station once played "Louie Louie" non-stop for over 63 hours... without repeating the same version twice. Here's the ultimate mashup of "Louie Louie," 50, yes, count `em 50 artists covering the song, all in two and a half minutes.
[Daily Reckless "Louie Louie" mashup]
Among 45 others, you just heard Iggy Pop, Led Zepplin, Blondie, The Grateful Dead, and Julie London. We'll be hearing more from Julie later in the show.
Originally written by Richard Berry in 19 and 55, and released by Berry two years later, "Louie Louie" was a moderate regional success, but wouldn't become a mega-hit until the early `60s when both Paul Revere and the Raiders and The Kingsmen recorded their different versions. While the PR&tR version of "Louie Louie" was extremely popular on the West Coast from San Francisco to Portland, Oregon, it was The Kingsmen who would have the national breakout hit with "Louie Louie."
Almost immediately there were adult complaints about the near-indecipherable lyrics, with concerned parents writing plaintive missives such as this one to then-attorney general Robert F. Kennedy...
"Who do you turn to when your teen age daughter buys and brings home pornographic or obscene materials... My daughter brought home a record of "LOUIE LOUIE" and after reading that the record had been banned from being played on the air because it was obscene, proceeded to try to decipher the jumble of words... The lyrics are so filthy that I can not enclose them in this letter."Well, yes. Or, maybe no.
Actually there was something of a cottage industry among adolescents who were passing smudged, yellow, lined sheets of paper - the kind with the wood chips in the middle - to each other containing what were claimed to be the "real" lyrics of "Louie Louie." For example, while you might have thought you had heard these lyrics,
Those nasty ol' Kingsmen were really singing - the crib sheets claimed,Louie, Louie,
me gotta go. Louie, Louie, me gotta go.
me catch a ship across the sea.
I sailed the ship all alone;
I never think I'll make it home
me think of girl constantly.
On the ship, I dream she there;
I smell the rose in her hair.
It won't be long me see me love.
Me take her in my arms and then
I tell her I never leave again.
A fine little girl, she wait for me;
Three nights and days we sailed the sea;
Me see Jamaica moon above;
Even the nation's churches got into the act, producing a "clean" version of "Louie Louie," with a musical retelling of the Israelites flight from Egypt:Louie, Louie,
grab her way down low. Louie, Louie, grab her way down low.
she gets her kicks on top of me.
Each night I take her out all alone;
she ain't the kind I lay at home
I fuck my girl all kinds of ways.
And on that chair, I lay her there;
I felt my boner in her hair.
It won't be long, she'll slip it off.
I'll take her in my arms again;
tell her I'd rather lay her again.
A fine little bitch, she waits for me;
Each night at ten, I lay her again;
If she's got a rag on, I'll move above;
"Pharaoh, Pharaoh whoa whoa"Pharaoh Pharaoh" is still sung at many summer camps to this day.
Let my people go Yeah, yeah, yeah, yeah, yeah Well Pharaoh Pharaoh whoa baby Let my people go."
To add to the fun, the ever-watchful J. Edgar Hoover sicced his minions on this aural evil threatening the morals of the nation's children, and the F.B.I. spent much of 1964 through `65 investigating this dire threat to America. However, even when the Ace Investigators of Our Nation slowed down the 45 single to 33 1/3, "Louie Louie" remained impenetrable. The F.B.I. finally admitted defeat in May of `65, noting in a memo,
"The FBI Laboratory advised that because the lyrics of the recording "Louie Louie" could not be definitely determined in the Laboratory examination, it was not possible to determine whether this recording was obscene."Justice thwarted and Louie triumphant.
We're closing out today's show with one last "Louie Louie," this one a hot and sultry version from Theme Time favorite, Ms. Julie London. You can find "Louie Louie" on Julie's last album, Yummy, Yummy, Yummy, which yes, does include that piece of bubblegum pop, as well as a cover of Dylan's "Quinn The Eskimo."
Here's Julie London and "Louie Louie."
Above another YouTube video for your education and entertainment, a "follow the bouncin' ball version" of "Louie Louie."
You can make your own decision whether the singer is saying, "We," or the more commonly accepted "Me gotta go."
Episode 33 of the Dreamtime podcast was brought to you with the help of Mr. Glad Head from the Expecting Rain Theme Time forums, and he'd like to give a shoutout to Mr. Buddy Guy,
Sources: All things Louie can can found at the eponymous "louielouie.net." The ever-wonderful "The Smoking Gun" has the documented F.B.I. lost war against "Louie Louie." Snopes.com explores the history of the "dirty" "Louie Louie" lyrics.
***
You've been listening to the Dreamtime podcast – occasional commentary on Bob Dylan's Theme Time Radio Hour.
Dreamtime is researched and written by Fred Bals, and is a Not Associated With production. As the name says, we're not associated with XM Radio, Bob Dylan, or much of anything else.
Some of the music on Dreamtime is provided via the Podsafe Music Network. Check it out at music.podshow.dot com. Our closing theme is performed by Lounge Affaire, courtesy of Christopher Murphy Studio.
We love your email and you can write us at dreamtimepodcast@gmail.com
The Dreamtime top cats are Curly Lasagna and Shaggy Bear. Our announcers are the notorious honky-tonkin' sisters, Jailbait and Joyride.
Until next time, dream well.
Monday, April 02, 2007
Love is All Around (Theme from Mary Tyler Moore)
Composed and performed by Sonny Curtis, he of the Crickets, as Our Host mentions in the "Fools" episode.
