Old Freud: The Complete Comments

OLD FREUD

Old songs. In thinking about age and mortality, these songs remain older. We all may know all or at least most of these songs. Songs that I have loved, but never considered as much as songs by my favorite artists form generally the same time period, songs forming the basis for music that we continue to love today. Basically, Freud was a painter who painted the old man on the cover. Like the old men sitting around naked on the benches in the locker room. Gravity is a constant. He is old, as are the songs.

These songs have been selected for their significance to me personally, their variety in style, and their staying power.


1. “Dizzy” by Tommy Roe

“Dizzy” was a hit released as a single in 1969 and was written by Tommy Roe and Freddy Weller. The song reached number one and is considered “bubblegum” or “bubblegum pop.” But as with most labels — whatever, bubblegum seems to have a negative connotation, light, friffy, fluff without substance, but anything with a label can suck eggs. So, bubblegum or not, “Dizzy” is my favorite Tommy Roe song.

I’ll tell you what “bubblegum pop” is. It’s the music that I was exposed to while sitting in the back of Dan’s station wagon. I remember so many trips, sitting in the back, Dan and Sharon in the front, Dan CHEWING GUM while tuning in the oldies. Neil Sedaka, Tommy Roe – these were the heroes of those days and by Dan’s chewing of gum alone is this genre possibly known as “bubblegum pop.” Dan dug deeper into understanding such artists and it is he who I credit for my own deeper appreciation of Roe and his cousins. It was the 90’s, we were in a wagon from the 80’s, we were born in the 70’s, the music was strangely and differently from the 60’s, somehow I was Dan and Sharon’s child, sitting in the back, father Dan with his gum and his gloves and his ear ever-fixed on the music, he kept us warm and safe in the cold of the Minneapolis winter. Do you remember the Holiday gas station on Central, the wagon, Sharon, the gum, the gas, the gloves, Sedaka and Roe, the cold?? It may be 2009, but it sure seems like 2000. That was “BUBBLEGUM POP” and it was warm and inviting, like Sedaka in a hot shower.

Back to Tommy Roe: he was born in Atlanta and moved to England for a few years and his song “Dizzy” was sampled on De La Soul’s Three Feet High and Rising, which, interestingly enough, I heard Steve Cummings positively critique; I owned the album on cassette tape. It might be worth to note that Steve Cummings was the business manager of summer camp, as Dan was the waterfront director, as Cory and I worked in the Ecology area. I can still hear an echo of that conversation, Dan discussing the title of the album as it invoked memories of road trips with his father, and Steve digging that one of the members of De La Soul listed ketchup as his favorite food. My question, Steve, was it the use of the Tommy Roe sample that especially drew you to the album?

A compliment to Dan, but a need for a preface so that it makes sense: in the Star Trek episode, “The Enemy Within,” Kirk is split into two halves. The bad part and the good part. Well, if it happened to Dan, the good part could have penned “Dizzy” – meaning that the song’s melodic strength and arrangement, as well as other like artists, is a skill that Dan also possesses and if he suffered a transporter accident, this kind of music would have been the result. As it is, Dan usually has more of an edge and often expands beyond Roe-like arrangements.

Awesome things to listen for: echo on drums, EXCELLENT vocal recording, at about 31-32 seconds listen for the gurgly wah guitar – something 44 might have produced, superb harmonies and strings, gotta love the use of “whirlpool,” and especially “fellas,” the added guitars and toms at the end, and the strings @ 1:44 as an example of 1960’s sonics at their best.

The song could be from a vinyl record’s point of view. The girl keeps playing the music, causing the entity (the record) to get dizzy, but it’s a party and so there are all these “fellas” hanging around, interfering with his opportunity, so all he can do is go round and round, his head spinning, dizzy and never able to put on his moves. As the record is pulled out of the sleeve it falls immediately in love with his liberator. It can only speak by being played, the girl loves it so much, and she holds it close because it is dear to her heart.

Dizzy is a tight, perfect little ass of a song.


2. “Green Tambourine” by The Lemon Pipers

The song is often considered a sample of “psychedelic pop” or again with the “bubblegum” – it was released in 1967, reaching number one in 1968.

An interesting story. I’ll briefly summarize. First, I must confess (I wanna get undressed) – I thought they were British!! But no, they are from Ohio except for the bass player who is from New Zealand. Once they found their New Zealand bass player, they were good to go. They were a college band playing rock and blues in Cincinnati until they were “picked up” by a major New York label. Dan will understand the casual use of “picked up” – it’s just what happens, like a pastor receiving his or her “call.” So, off to New York they go. Anyway, producer and songwriter Paul Leka, along with his partner Shelley Pinz, wrote a song capitalizing on the psychedelic vibe of the time, and as a condition of the contract, The Lemon Pipers had to record it. “Green Tambourine” was recorded and released on an album of the same name.

Though the band enjoyed their bit of success, despite what they would say in subsequent years, there was a depressing side. They could never reconcile their Cincy blues scene with the seemingly manufactured British psychedelic pop of a New York producer’s design. The song is often criticized for not having a lot of substance and the band would only release one more album until disbanding in 1969. The drummer died in 1999, but the other members continue music-related careers – just not in the pop spotlight.

I make a pretty firm distinction between songs like “Dizzy” and a song like “Green Tambourine.” Songs like “Dizzy,” as I have mentioned, were introduced to me by Dan and involve a more direct connection to the artists themselves while songs like “Green Tambourine” have been familiar to me since my beginning, songs I’ve always loved, attracted by the production – they attempted to sound like elements used by the greats (Beatles, Donovan, Hendrix, Doors, Who).

Green Tambourine pulled out all the tricks with fortunate results. Everything was in line, including the planets, this song is GREAT! Inspires good feelings, it is by chance that the song is as good as it is. The attempts by the producers combined with the reluctant embrace by the band. Despite the band’s later musings, they enjoyed to the max the success that the song brought them, including several cheesy TV appearances available via YouTube.

Poor man asking for money and in return, he will play songs on the tambourine. The tambourine is the collection plate for the money. Pop music exists because of the money offered up by consumers – is this the dream of the poor man, his chance – retail ru (i) ns civilization.

The song makes me feel GOOD!!!! I love the sparkly sitar, percussion, love the string decent, British vocal approach, “help a poor man fulfill a dream,” “reflections,” heart drum, love strings at about 1:03, love the string change around 1:27 – great arrangement – superb, they embody the elements of more substantial forms of music for which it was critiqued, wild drum ending, echoes and effects – pulled out all the tricks, but again, with fortunate results.

The “music machine” continues and this will not be the last song about tambourines to be recorded.

This is one of my favorite grocery store songs – see more about this below.


3. “Speedo” by The Cadillacs

A 1955 rock’n’roll and doo wop hit from Harlem. Earl Carroll was the lead singer, hence the lyric, Speedo was his real life nick name (given to him affectionately by children at a school where he was a janitor) – he later joined The Coasters, and then reformed The Cadillacs. The style and execution of this musical form is WONDERFUL.

I do love this song. It is a surprisingly recent discovery for me, since about 2004. Especially odd since it is one of my father’s favorites. Whenever he had a great deal going on he would refer to “the helicopters coming out.” I think he got it from the movie Good Fellas, from which “Speedo” is famously featured. The helicopters represent another level of stress or pressure, an added chore to complete or errand to run – for instance, to the grocery store.

Speaking of going to the grocery store – there is something to that. I know that everyone has mentioned a trip or trips to Baesler’s, local grocery store, when discussing a visit to see me. I just want to talk about that for a moment because it is interesting. I am not saying that moments spent together in a grocery store eclipse those of other moments spent together, but there is an equation. It is a time spent together out in society. Deciding together, planning or lack of planning, spontaneous interaction with others of our kind – it is a mission of sorts, including a ride in the car, music, traffic, and weather, or our collective exposure to the elements. The clothes we wear to survive the elements. Without the clothes, we cannot survive out there. If naked, we die. Together we will make sure we wear something. Together we help each other survive. By “getting” and “gathering” food we are doing what humans have always done. It may be the 2000s, but our tribe does the same sorts of things – together we survive and interact with the elements. It may be strange. It may not on the surface be “the thing to do,” but if you search your memories have not the trips we made together for food been some of the most memorable? I will admit here and now that they are for me. And not only for those that come to see me – I remember excellent memories going with Mixdorf to get Blueberry Beer, or with Dan to Cub Foods to get donuts, or with Cory to get cheesecake – whatever and whenever – that is just the superficial tip of the iceberg in terms of the depth of importance and significance to my life that such moments have had for me and my connection to my friends. A whole new post/discussion concerning grocery-store memory friendship bonding experience may be worth the time and thought. The discussions during such fleeting moments represent life itself. When we are at the store we are living. We are out there. We are in it. We are the ones living. Others will see us and wish, “boy I wish I was with a friend eyeing Little Debbie.” This warrants additional exploration and it is bigger than this paragraph. Feel free to make fun if you like, but the next time I am in town or if you are in Terre Haute and we are headed to the Baesler’s, please know how important the experience is – indulge me, know that a refusal to go to the Baesler’s leads to a broken heart and a sapping of my soul.

Another great thing about this song and many of the songs on this compilation is that they can be heard at Baesler’s. They play some kind of oldies station (a possible title for the compilation – Its Baesler’s Baby) and even pipe it out to where you can get gas. Now that is truly experiencing life. Gas, “Speedo,” AND a friend, oh my.

AMAZING AMAZING AMAZING vocal performance, the harmony, so clear with wonderful texture, wonderful hums after each phrase, the song really moves – drums and bass, almost can’t believe this was recorded in the fifties – sounds better than stuff today…some 60s engineering fell off a bit in terms of recording quality as evidenced by this fine recording.

Another feel good song and definite stress reliever, even if the helicopters are out. A great coping song.


4. “Working in the Coalmine” by Lee Dorsey

Born in New Orleans, Lee Dorsey was a boxer called Kid Chocolate; he worked in an auto shop during the day and sang at night. “Working in the Coalmine” was written by Allen Toussaint and released by Lee Dorsey in 1966.

I love the anvil sounds – spectacular vocal and harmony arrangement, Lee Dorsey’s voice and horn summations really emote what the words are attempting to convey, excellent arrangement, gotta love the “Lord I’m so tired, how long can this go on.” Molly loves this song and we have attempted our own version. Great horns, great recording of horns, which can so often be messed up and poorly utilized.

Great song, the first in a two in a row of “the working man’s plight” – though “Speedo” does to a lesser, less overt degree.

This song says it all.


5. “Get a Job” by The Silhouettes

Released in 1957, it was a hit in 1958. Sha Na Na took the name from the lyric. The song was written by Richard Lewis, Bill Horton, Earl Beal, and Raymond Edwards – the group members.

It is the oldest sounding recording and of the poorest quality on this compilation, but….what a blast! Listen to the percussive piano – almost can’t hear it without headphones, classic beginning (dip dip dip dip or yap yap) - all that is great about doo wop.

The lead vocal rolls in at 19 seconds like some kind of crazy instrument – part flute, horn, and percussion! (What a voice!). I love the melody at 49 seconds, lending to the song’s strong melodic form – GREAT harmonies, and come on “GET A JOB” – great, and in the fifties! A classically typical break at 1:30 with keys and sax supplies the cherry.

The ultimate necessary evil? The ultimate nag? Perhaps.
Both “Get a Job” and “Working in a Coalmine” are blues songs done in different styles. Both songs are fantastic! Both songs would make old Freud proud.


6. “My Boy Lollipop” by Millie Small

Millicent Small was born in Jamaica. “My Boy Lollipop” was a big hit in 1964. The song was written by Morris Levy. Barbie Gaye recorded it first but her version pales when compared to Millie’s. The song is a step in the evolution of Jamaican music, residing somewhere between bluebeat and ska (most will call it ska) and on its way to reggae pop (evolutionarily speaking). “My Boy Lollipop” was the first major hit for Island Records, for those of you who run in U2 circles.

Oh man – the voice – how perfect, how cute, a lineup of cosmic forces, sweetness and cuteness, coming together and uniting the Western Hemisphere through human male fantasy. There was a time in the 1950s when the Western Hemisphere was about to split into the “Right” lobe and the “Left” lobe, potentially fracturing any chance, ever, of global peace. Eisenhower felt that is was crucial that any hope for a global peace rested in securing peace in the Western Hemisphere first. He initiated “Ikehunt” in an effort to capture and then market an entertainer of Western Hemisphere origins who could charm and secure an everlasting peace. Eisenhower’s term came and went without the successful execution of “Ikehunt.” Kennedy, in an effort to honor his predecessor, not only vowed to go to the moon, but also to fulfill Eisenhower’s dream for Western Hemisphere peace. He developed a task force that sent “investigators” to Canada, the West Indies, and South America. Kennedy proudly presented the fruit of “Ikehunt” when he exclaimed to the Western Hemisphere: “I, your president, of these United States, present to you, The Effervescent Millicent!” JFK later admitted that had she not been found the situation with Cuba could have reignited if not for the bouncy lulling of Millie’s song.

I love the “but I don’t want you to know,” like the girl who rolls her hand up her smooth and tanned leg while purring to you – knowing you are looking, leaving you debilitated, incapacitated, warm, and peacefully tired. Is it a dirty song? Is it the innocence? Ask Freud.

Interesting use of harmonica, so bouncy and happy in that 60s, ska kind of way. What a fantastically exotic voice, especially for Midwesterners of the mid-sixties! A very very happy song from what I like to envision as a very very happy time.


http://www.youtube.com/watch?v=ZCUcbRTB6Rs




******THE THING ABOUT THE NEXT TWO SONGS ******

A time it was. Dan and I. Augsburg Fortress. All about the infrastructure. And friendship… Our main concern was our morning break. Making our way through the skyway like two cadets on the enterprise. To sit in the sun at Bixby’s café. Poetry guy with the teeth and tongue stud selling us his brew and stories. Coffee steaming, bagel beckoning. Newspaper ready. We would talk. Bond. Jam. Wonder. Hope. Believe. We spent our money and found our seats. We did our picks and made our plans. And then . . . on a daily basis, the following two songs would mingle with the sunlight, creating not just a memory, but life. The guitar opening to “Sleepwalk” gently giving us pause, these were our songs. We’d hold hands as we continued to guess the betting line for next Sunday’s NFL football games or that night’s NBA basketball games. Conversation would shift from Star Trek to sports to music as suddenly as the birthing of mice. This was part of our music education. Listening to these songs, drinking coffee, hoping for hope for our dreams to deliver.

These two songs were very much a part of the Bixby’s experience, a saintly venture framing the Augsburg Fortress days. There was coffee in the air, and it was good.


7. “Sleepwalk” by Santo and Johnny

Italian-American Rock & Roll brothers from Brooklyn. They wrote the song, and in fact had lyrics for the song as well, but the song remained an instrumental, released in 1959.

The guitar at six seconds is perhaps the most beautiful use of the steel guitar in the history of the instrument. As I think back I always think – surely there must be strings and lush orchestration, but alas ---there is not, I guess memories always have strings. The ending is absolutely beautiful.


8. “Laugh, Laugh” by The Beau Brummels

Beau Brummel was a 19th century English person who was very much into fashion. The Beau Brummels were an American band that was heavily influenced by the British bands. “Laugh, Laugh” was released as a single in 1964 from the album titled, Introducing the Beau Brummels, released in April of 1965. Where The Lemon Pipers had producers forcing them to give up the blues to assume British attributes for the sole reason of selling records, The Beau Brummels were artists unto themselves who looked to British Bands as a source of inspiration. Less flashy, more folksy. The song is structured much like “Things We Said Today,” by the Beatles but already into some Rubber Soul folksy content, possibly because of Dylan, but retaining a very folk – pop identity.

Ooh - listen to the stereo effects. I love the guitars – excellent – especially the little reinforcements. I LOVE LOVE the “lonelys” that are first heard around 54 seconds – LOVE IT! I also love the harmonica. I am often rough on that instrument’s use, but they use it right. Also listen at 1:37 for some muttering – you can hear it here and there, “Before I Go.” The song always involves the listener, especially as he pleads with the listener. The harmonies are interestingly paced. I do not know if I have ever heard anything else by this band.


9. “Reflections” by Diana Ross & The Supremes

Are we in the cold of space? No, just in the warm vocal embrace of one Diana Ross; The Supremes with space effects and just in time for Season 2 of Star Trek. The song was released in July of the “Summer of Love” (1967), aka the summer between Seasons 1 and 2 of Star Trek. It was written by Holland-Dozier-Holland and all the instruments were played by The Funk Brothers. This would be the first single released by Diana Ross & The Supremes, as opposed to simply, The Supremes. It was released shortly before Florence Ballard was fired from the group.

Her voice, Motown, the drumming, her silky quality, all contribute to this masterpiece of psychedelic soul music. I love how in half a minute the song ramps up with the beat slamming on all four beats. The wild background vocals are otherworldly and slightly scary – especially with the accents on “loving you” near the end.

Listen to her “ah” for “I” at 1:12 – my god – almost yanks the tears right out of my eyes. The strings trip around interestingly at 1:30 and I LOVE their power at 1:45 as it spills back into a verse, the strings are amazingly innovative throughout.

An amazing song that I have heard so many times that I almost was not able to appreciate its many beautiful intricacies and nuances; I wonder how much of Motown I have yet to fully appreciate.


10. “Good Vibrations” by The Beach Boys

This band was almost too big to include. However, my neglect qualified them for inclusion. “Good Vibrations” was their third number one hit. It was released as a single in 1966, close to the release of Pet Sounds — kind of like the relationship between “Strawberry Fields Forever” and Sgt. Pepper. The music for “Good Vibrations” was written by Brian Wilson and the lyrics were written by Brian Wilson and Mike Love.

First, the vocals are insanely amazing, what was going on here was incredibly unique and I am not sure if it has yet been matched within the context of a pop song running less than 4 minutes – under four minutes!, this song is as a symphony. I will not examine too closely the many fantastic vocal performances, sounds, ideas, and harmonies at work here, there is too much to admire and enjoy: the mastery, the great opening line, I love the “sound” (an electro-theremin) and the sound and use of the cello, the “excitations,” damn Sunkist.

I love the “I’m picking up,” the idea of giving off and picking up vibes pours into pop culture. The changes beginning at 1:41, dramatic, how will it change and then whoa… at two minutes, one of my all time favorite lines, “I don’t know where but she sends me there.”

The vocals are soaring, and then 2:14 just starts up almost instantly in a state of fading, like a day’s sun fading into a fire at night, and yes – can you feel the beach? – where was Enya to do the “aahh” at 2:54? And just when you think the song might be over and the adventuresome vocals completed, they throw in the next little treasures that they dug up on the shores of Huntington Beach, at around 3:13, listen to the bass tones supporting the vocals and of course the sound of the vibration itself, connecting us all to Wilson’s brain waves and the nature of the universe Unfortunately this version does have a crappy fadeout, or was this intentionally done to represent the impossibility of an all powerful connection between people and the reason world peace continues to prove so incredibly difficult and possibly impossible?