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Music Throwback Saturday: Right Place Wrong Time

A verse lyric from Right Place Wrong Time was the inspiration for the title of the album Brain Salad Surgery by Emerson, Lake, and Palmer.

When I saw the new movie The Jungle Book, which I loved, I discerned the voice of Dr. John during the end credits instantly. My friend Jon said, “I’m not familiar with him.”

So I did my best whiskey-soaked vocal impression of his Right Place Wrong Time. It was recognized right away, both then and the next day as I retold this story. Despite him playing the music for well over a half-century, that one song from over four decades ago is still remembered.

Malcolm (Mac) Rebennack, born on 20 November 1940 in New Orleans, and has worked as a singer, songwriter, guitarist, and especially pianist since the late 1950s.

He put out an album in 1968, Gris-Gris, which stiffed at the time, but became well regarded in subsequent years..

His fifth album, Dr. John’s Gumbo, was a collection of covers of New Orleans classics. He had a minor hit, Iko Iko (#71 in 1972).

Then came the album In the Right Place. The singles Right Place Wrong Time (#9 in 1973) and Such A Night (#42 in 1973) marked the high point in his merely commercial side.

“The song ‘Right Place Wrong Time’ was featured in an episode of American Horror Story: Coven and also in the movies Dazed and Confused and Sahara, as well as the trailer for the second season of Fargo. A verse lyric from the song (‘Just need a little brain salad surgery/got to cure my insecurity’) was the inspiration for the title of the album Brain Salad Surgery by the English progressive rock band Emerson, Lake, and Palmer.”

But as his 2011 Rock and Roll Hall of Fame induction notes: “Beyond his vast discography as a recording artist, the list of sessions on which he’s played for others is lengthy and impressive…”

Dr. John was at Alive at Five this week in Albany. Alas, I missed it.

LISTEN to

Gris-Gris Gumbo Ya Ya HERE.

Iko Iko HERE. A description HERE.

Right Place Wrong Time HERE or HERE.

Such A Night HERE.

Bare Necessities HERE.

Music Throwback Saturday: Smile, Darn Ya, Smile

The Smile, Darn You, Smile cartoon was redone, and colorized, in 1995.

For this one, blame fillyjonk. She had a post featuring, among other things, Billy Cotton singing Smile, Darn Ya, Smile from 1931, a song written by Charles O’Flynn, Jack Meskill, and Max Rich.

Also in that post, from that year, a character named Foxy – looking not dissimilar to Mickey Mouse – in an animated feature with the same name as the song. It was a Merrie Melodies cartoon, a producer I recognize as later featuring Bugs Bunny, Daffy Duck, Porky Pig, and others.

From Toonzone: This cartoon is very similar to Walt Disney’s Oswald the Rabbit cartoon Trolley Troubles (1927) [where “Oswald is the conductor on a runaway trolley] which [supervising director Rudolf] Ising likely worked on. Disney Swipe: In both Smile, Darn Ya, Smile! and in Disney’s The Opry House (1929), a fat hippo is deflated with a pin.”

The Smile, Darn Ya, Smile cartoon was redone, and colorized, in 1995. “The re-drawn version is never animated at 24 fps (as many scenes in the original are), but only with 12 drawings/second.”

As fillyjonk noted, the song “was used (at least the chorus was) at the very end of ‘Who Framed Roger Rabbit’ (when the Toons get their happy ending, after all).” It was also recorded by several others.

LINKS

Read the fillyjonk post

Read IMBD of the 1931 cartoon

Watch the side-by-side comparison of the 1931 and 1995 cartoons

Listen to Smile, Darn Ya, Smile by Ben Selvin, which hit #14 on the Billboard charts in 1931 HERE or HERE or HERE

Listen to Smile, Darn Ya, Smile – Percival Mackay & His Kit-Kat Band (1931)

Listen to Smile, Darn Ya, Smile – Joe Morgan and his Palais D’or Orchestra (1931)

Listen to Smile, Darn Ya, Smile – Sammy Davis, Jr., featuring tap dancing

Watch the end of the Roger Rabbit movie

Listen to soundtrack recording of Smile, Darn Ya, Smile from Who Framed Roger Rabbit?

The lyrics

Smile, darn ya, smile
You know this great world is a good world after all
Smile, darn ya, smile
And right away watch lady luck pay you a call
Things are never black as they are painted
Time for you and joy to get acquainted
So make life worthwhile
Come on and smile, darn ya, smile

Music Throwback Saturday: songs from A Hard Day’s Night

I listened to some early Wilson Pickett , but I’m not hearing the connection at all.

The Beatles, as influential as they were on other musicians, were also influenced by their predecessors and peers. I’m rereading Steve Turner’s “The Beatles: A Hard Day’s Write,” subtitled “the stories behind every song.”

Fairly often, the members of the group are quoted as having been inspired by a piece for their own creations. I thought I’d put some of their songs up against the source material, with links to most.

Actually, the videos I’m having the most difficulty finding recently are those of the Beatles themselves, with several of them banned at least in the United States by some UK entity. The links I’ve used WERE working…

Anytime at All (at 16:52):

[John] later admitted [it] was a rewriting of his earlier song ‘It Won’t Be Long’, using the same chord progression from C to A minor and back, and when it came to recording, employed the same bawling vocal style.

I hear the connection. Yet the latter song is arguably better.

When I Get Home (at 23:39):

Influenced by his love of Motown and American Soul Music. Around the time it was recorded, he was asked what song he wished he had recorded…His first choice would be Marvin Gaye’s ‘Can I Get A Witness‘.

Wouldn’t we all have liked to have written that?

You Can’t Do That (at 26:00): “The musical influence, John later said, was Wilson Pickett…who had only released three singles under his own name, only one of which had been a minor hit.” I listened to some early Pickett – I Found a Love, If You Need Me, It’s Too Late – but I’m not hearing the connection at all.

Beatlesebooks confirms this:

The problem is that Wilson Pickett had not come into his own as of January of 1964 when this song was written. By that time, Wilson had only released four early singles which were 6/8 ballads far unlike anything he’s known for, such as ‘In The Midnight Hour’ and ‘Mustang Sally,’ which were much closer to what Lennon was talking about… John obviously was thinking retrospectively and originally found inspiration elsewhere, such as the R&B classics coming out of Memphis at the time. Confirmation of where the inspiration actually came from may never be known.

Memory is a peculiar thing, I’ve discovered. And John’s recollection of events in the early 1960s was taking place in 1980.

I’ll Be Back (at 28:40):

John found the chords while playing a Del Shannon song. This was probably ‘Runaway‘, which the Beatles had played in their early shows and which also starts with a minor chord and has a descending bass line.

This is so transformative that even though I was well aware of the earlier song, I never made the connection.

***

If I Fell – MonaLisa Twins

The Lydster, Part 145: Hip hop

“It’s SO annoying, but it’s still fun.”

The youth of our church, ages 6 to 18, did a hip hop performance of original readings, one extant reading, plus three dance numbers, and one song, at the beginning of March.

The Daughter’s first contribution was like pulling teeth. She was supposed to write a poem about her good qualities, but she was so self-effacing, I sat with her to suggest what she was good at, such as dancing, and being a good friend.

In a collective piece called Church and Family Rule, she ended up saying: “Mom: tucks me into bed at night. Dad: watches the news with me at midnight.”

Now, what she had ORIGINALLY written was that I watch the news with her, then something entirely different about our cats Midnight and Stormy. So, NO, Albany, I don’t watch the news with my daughter at midnight, unless she’s having insomnia.

Her solo reading, though, was particularly popular with the crowd. I was glad I had heard it a few times before she delivered it. And I had NOTHING to do with its composition, except, apparently, as its inspiration.

My dad and I dance to The Beatles.
Well, I wouldn’t call what he was doing DANCING, but something like that.
I dance to I Saw Her Standing There, Help, Hey Jude, and Revolution.
My dad sings, “She was just seventeen if you know what I mean.”
And as soon as he starts to sing, I start to sing.
It’s SO annoying, but it’s still fun.
We do it a couple of times a year, usually around the Beatles’ birthdays.

SHE added the extra “if” to the song lyric.

It was well-received by the audience that was clearly not a traditional hip hop demographic.

T is for Traveling Wilburys

The two Traveling Wilburys albums were out of print for about a decade.

Everything about the creation of the supergroup the Traveling Wilburys, I love. From the website comes a story I already knew.

George Harrison was asked by the folks at Warner Brothers Records to put together a non-album B-side for a single from the ex-Beatles’ album Cloud Nine.

Harrison, Jeff Lynne, and Roy Orbison had shared dinner, then went to Bob Dylan’s home studio in Malibu, California. George had left a guitar at Tom Petty’s house, and when he went to retrieve it, he invited Petty to join in the fun.

Harrison played the resulting track, Handle with Care, to the WB brass, who thought the song was too good to bury on the flip side of George’s single. Maybe it could become part of an album?

The five frontmen took on the persona of the Traveling Wilburys from this: “Referring to recording errors created by some faulty equipment, Harrison jokingly remarked to Lynne, ‘We’ll bury ’em in the mix’ Thereafter, they used the term for any small error in performance… Harrison suggested ‘The Trembling Wilburys’ as the group’s name; instead, Lynne suggested ‘Traveling’, with which the group agreed.”

The album was very well received and won the Grammy Award for Best Rock Performance by a Duo or Group in 1989. Unfortunately, “Roy Orbison died of a heart attack on December 6, 1988… Despite Orbison’s death, the remaining group members recorded a second and final studio album, which they intentionally misnumbered Traveling Wilburys Vol. 3. It was released on October 30, 1990, and met with less success than the previous one.”

I had thought Volume 3 was a function of all the collaborations among them, but it was an acknowledgment of bootlegs of the original sessions featuring songs not on that first album.

The group talked about touring, but it never happened. I had heard rumors of Del Shannon replacing Orbison, but he died on February 8, 1990.

The two albums were out of print for about a decade, until they were re-released, with added tracks, in 2007, including Nobody’s Child, the title track for a benefit album. “The project was organized by Olivia Harrison, who created the Romanian Angel Appeal Foundation with the other wives of The Beatles (Barbara Bach, Yoko Ono and Linda McCartney) in April 1990.”

The singles

1988 “Handle with Care” (US 45, AUS 3, NZ 4, UK 21)
1989 “End of the Line” (US 63, AUS 12, NZ 11, UK 52)
1990 “Nobody’s Child” (NZ 9, UK 44)
1990 “She’s My Baby” (AUS 45, CAN 30, UK 79)
1991 “Wilbury Twist” (CAN 86)

You can find Nobody’s Child HERE. The remaining songs above, plus Inside Out, you can listen to HERE, and Margarita HERE.

For good measure, I Call Your Name – Ringo Starr, backed by Harrison, Lynne, Petty, and Traveling Wilburys drummer Jim Keltner on cowbell.

ABC Wednesday – Round 18