May is a month for themes at First Draft. Yesterday, I declared it Cole Porter month at the Friday Cocktail Hour. Today, I declare May to be Beatles month since Tell Me Why was last week’s theme song. I do declare. Stop me before I turn into Scarlet O’Hara. I’d look lousy in a hoop skirt…
President Biden visited New Orleans as part of his infrastructure push. He toured the Sewerage & Water Board plant in the Pigeon Town neighborhood. Our water system has been in bad shape forever. They’ve tried muddling through with what we have but what we need is money, money, money. The presidential visit is a good sign that it may be forthcoming. John Neely Kennedy insists that water plants aren’t infrastructure. I insist that he’s an asshole who can still go fuck himself.
This week’s theme song was written by Lennon and McCartney in 1965. Once again, it’s essentially a Lennon song. We’ll get to Macca next week. It was featured on three Beatles albums, Rubber Soul in the UK, Yesterday and Today in the US, and on the Yellow Submarine soundtrack worldwide. That was exhausting. Yeah, yeah, yeah.
We have three versions of Nowhere Man for your listening pleasure: the Beatles original, Randy Travis, and Paul Westerberg.
If you’re feeling stuck in Nowhere Land, there’s an easy fix: jump to the break.
Now that I’m fully vaccinated, things are slowly but surely getting back to normal at Adrastos World HQ. A close friend of mine paid an extended visit the other day. He’s an engineer so when he noticed that one of our front stairs was wonky, he insisted on fixing it. His motto is: “I fix shit.” Thanks, pally.
I’ve been listening to a lot of early Beatle. The music and lyrics may not be as sophisticated as their post-Revolver work, but the harmonies are to die for. They sang live in the studio back then and the blending of John and Paul’s voices is sublime. The best example of Beatly greatness I can think of is the fact that George Harrison was the third best singer in the band. And George was no slouch. Yeah, yeah, yeah.
There are many songs titled Tell Me Why. I picked three of them. The Beatles song is basically a John Lennon song and was written in 1964. The Beatles recording history is complex, the early US and UK albums were quite different. In the UK, it appeared on Hard Day’s Night and in the US on Something New. Yeah, yeah, yeah.
Our second theme song was written by Neil Young in 1970. It was the opening track on the album that made him a star as a solo artist, After The Gold Rush.
Our third theme song was also written in 1970. Barry Gibb wrote *his* Tell Me Why for the family band’s 2 Years On album.
Now that I’ve told you why, let’s jump to the break.
We’ve had some unseasonably cool weather this week in New Orleans. It’s been a relief after last week’s constant rain. We’ve even had some sun, which was initially disorienting but I’m down with it.
It’s special election run-off day in the Louisiana-Second. An ugly and mendacious campaign was waged by the runner-up in the primary, State Senator Karen Carter Peterson. She wants a promotion after a disastrous tenure as state party chair and missing 85% of state senate votes last year. Talk about failing upward. I also happen to think that comparing another Democrat to Donald Trump is punching below the belt. I look forward to voting against her and for Troy Carter.
This week’s theme song was written in 1990 by Canadian singer-songwriter Shirley Elkhard and recorded by Bonnie Raitt for her 1991 album, Luck Of The Draw. It was a big hit for the Bonster. It was later used in the Julia Roberts-Dennis Quaid movie of the same title in 1995.
We have two versions of Something To Talk About for your listening pleasure: the Bonnie Raitt original and a 2016 version by Blood Sweat & Tears frontman David Clayton Thomas.
Was that bloody, sweaty, and teary enough for you lot? While we’re still wet, let’s jump to the break.
The weather has been horrendous in New Orleans this week. We’ve had high winds, thunderstorms, and torrential rain. One day it looked as if we were having a tropical system out of season. I hate thunderstorms, they’re like heavy metal. I hate heavy metal.
It’s been so bad that we’ve had to work around the weather for fear of street flooding. Dr. A went to work preposterously early yesterday because she was administering an exam. I was so grateful that the garbage men closed the bin lid that I went on the porch and thanked them.
This week’s theme song was written by Francis Rossi for Status Quo’s 1968 album Picturesque Matchstickable Messages from the Status Quo. How’s that for a long ass title? It was to be the band’s only major hit single in the US&A.
The song was inspired by the paintings of Mancunian artist LS Lowry. He pretended to be an unsophisticated artist but had serious chops as a painter. Lowry also excelled at myth creation often telling wildly contradictory stories. His painting Main Press is this week’s featured image.
There’s some dispute as to whether Lowry should be called a Mancunian artist since he lived in nearby Salford. But I like saying Mancunian so I’m sticking with it. FYI, a Mancunian is someone who hails from Manchester, England, mate. Who the hell wants to be a Salfordian or is that Salfordite?
We have three versions of Pictures Of Matchstick Men for your listening pleasure: the studio original, Status Quo live, and a 1989 cover by Camper Van Beethoven, which was a hit in the US&A.
We’re not finished with matchstick men, here’s a 2018 song written and recorded by Mark Knopfler:
Now that we’ve pondered matchstick men in music and art, let’s strike quickly and jump to the break.
My second jab side effects were worse than the first but only lasted for 3 days then vanished. It was weird to walk like a drunk when stone cold sober, which is why I spent most of my time on the couch.
When did the furniture people start calling a couch a sofa? I can go either way, but sofa potato isn’t as evocative as couch potato. I wonder which one the man who couldn’t spell potatoes, J Danforth Quayle, uses. Ah, the small mysteries of life.
I’m still watching bits and bobs of the Chauvin trial. My dislike for defense lawyer, Eric Nelson grows daily. If I were devising a drinking game for the trial every time he says “right” “correct” “agree” you take a shot. A surefire way to get shit faced drunk, right?
Despite the album cover featured image, it’s Saturday, not Wednesday. I didn’t mean to confuse anyone; that was a lie, I take great joy in sowing confusion across the land instead of either sleeping like a log or working like a dog.
This week’s theme song was written by Lennon and McCartney in 1964 for the movie of the same title. It has always been one of my favorite Beatles tunes. Yeah, yeah, yeah.
We have four versions of A Hard Day’s Night for your listening pleasure: the Fab Four, Perez Prado, the Smithereens, and Miss Peggy Lee.
Peggy Lee? Yes, Norma Engstrom herself. Paul McCartney was a big fan and gave her a song to record after seeing her perform in London in 1974.
Yeah, yeah, yeah.
Since that’s my favorite Beatley quote, here’s the song it comes from; in German too.
I’ve already blasphemed about Easter in my Son Of Jab Talking post so I’ll resist the urge here. Besides, how can a non-believer blaspheme? A question for the ages.
This week’s theme song was written in 1974 by Ian Hunter for Mott The Hoople’s The Hoople album. They’re one of my favorite bands of that era; all flash and swagger. I like flash and swagger in a rock band.
I saw Mott perform live on that tour on a bill with BTO and a totally unknown band from Boston, Aerosmith. Great show although I’m not sure what Mormon rocker Randy Bachman thought of Ian Hunter and Steven Tyler; not to mention Mott guitarist Ariel Bender. That’s a stage name: his real moniker is nearly as colorful, Luther Grosvenor.
We move from glam rock to roots rock with this week’s co-theme song. It was written by Michael Dempsey and Leon Russell for the latter’s eponymous debut album:
Two more songs with stone in the title:
Let’s crawl to the break then jump if such a thing is feasible.
I committed a faux pas the other day and accidentally published something. I planned to curate a quote from a marvelous teevee essay by MSNBC’s Laurence O’Donnell about our border issues. Instead the whole damn thing went out raw and I pulled it after it lingered overnight. Here’s a link to the transcript. Scroll down 3/4 of the way and Bob’s your uncle. Make that Uncle Laurence. I’m neither Irish nor from Boston but I’ll claim him.
In jab talking news, Governor Edwards has opened COVID vaccinations to all Gret Steters over the age of 16. I welcome everyone to the Half Vaccinated club. On April 3rd, I will enter of the realm of the fully vaccinated. Cue sigh of relief.
Our theme song continues the flow of the week. In this case from my most recent 13th Ward Rambler column. Pennies From Heaven was written in 1936 by Arthur Johnstone and Johnny Burke. It’s been a hit more times and by more artists that you can shake a stick at. Why one would do such a thing is beyond me.
We have three versions of Pennies From Heaven for your listening pleasure: Frank Sinatra, Louis Prima & Keely Smith, and an instrumental by Stan Getz and Oscar Peterson.
Have I mentioned lately how much I love Oscar Peterson? I know: repeatedly. My Oscar love will never wane. That goes for my much missed kitty as well.
Before we jump to the break, look up like the girl in the Kubrick photograph so you can dodge the pennies from heaven.
A bird got into our house while I was taking a jab nap. Claire Trevor was determined to get the poor wee house sparrow. I tried grabbling CT to close her in somewhere to no avail. I yelled at the cat to keep her away from the open door as the bird hopped from ceiling fan to ceiling fan. It finally flew out the front door. That’s as adventurous as it gets at Adrastos World HQ these days.
Mother-in-Law #1 is 99-years-old and in bad shape at her assisted living joint in Baton Rouge. The good news is that we’ve been able to visit her twice including yesterday. Her body is failing but her mind is still sharp. I’m not sure how long she’ll last but it’s a relief to be able to visit after not having seen her for 14 months because of the pandemic.
I’m voting later today in the special election called to fill Cedric Richmond’s congressional seat. I’m as underwhelmed by the choices on offer as I was by Cedric. The leading candidates are two hacks from New Orleans and a young firebrand from Baton Rouge. Since I do not want to be represented in Congress by someone from Red Stick, I’m voting for the hack I’m acquainted with, State Senator and former City Councilman Troy Carter. I loathe the other hack whose name shall not cross my lips.
This week’s theme song was written by Jon Anderson and Chris Squire for Yes’ 1978 album, Tormato. Yes are known for their great album covers. This is not one of them. The music is still pretty darn good.
We have two versions of On The Silent Wings Of Freedom for your listening pleasure: the studio original and a 2006 live instrumental version.
Follow the flying fingers of Chris Squire and jump to the break. No finger jokes this week. Pinky swear.
I’m getting vaccinated this afternoon at the Morial Convention Center. I’m a bit nervous and uncertain as to which vaccine I’ll be getting. I’m fine with any of them. The one-shot J&J variant has considerable appeal because I hate needles. Here’s hoping I get jabbed by someone with a light touch. Just don’t give me a smiley faced Band-Aid. I hope that’s not too much to ask. Enough jab jabber.
It’s pollen season in New Orleans. The mighty oaks are spewing forth their yellow poison (to me) and my eyes are red and runny. If I were a Republican, I’d turn this into a culture war grievance but I’m not so I won’t.
This week’s theme song was written in 1971 by Pete Ham for Badfinger’s Straight Up album. It was a smash hit across the globe hitting number 4 on the Billboard charts in the US&A. The song was produced by George Harrison and featured George on slide guitar and Leon Russell on piano.
We begin with the Badfinger original:
I had no idea that the second version existed until I checked out Second Hand Songs. Ladies and gentlemen, Bradyfinger:
The Brady Bunch kids cut two albums of then contemporary hit songs. It’s weird to hear a chirpy version of Pete Ham’s mournful song. If it weren’t so damn funny, I’d give it the finger, then eat a Butterfinger. Candy is the cure for many of the ills of society including Bradyfinger.
Speaking of fingers:
It’s time to cut out (cut off?) the finger jokes and jump to the break.
The cold weather is back but it’s not as bad as last month’s hard freeze. As I watch things unfold in Jackson, MS, I realize how lucky New Orleans was. Our water infrastructure is just as ancient and with a more prolonged freeze it could have been us. We dodged a bullet this time. Our luck is bound to run out at some point. Our pipes are old, old, old.
I posted a version of Mean To Me when I wrote about Neera Tanden before her nomination was pulled. I stand by what I wrote then, but I should have added that, in some ways, she was a surrogate for those on the far left and right who hate Hillary Clinton.
As far as Joe Manchin is concerned, I’m beginning to think he likes being the key vote in the Senate and was flexing his muscles on the Tanden nomination. I guess Tanden had a blind date with the Man of La Manchin, not destiny. So it goes.
Neil Finn wrote this week’s theme song in 1986 for Crowded House’s eponymous debut album. It’s the first track on the record and is a frequent set opener when the band plays live.
We have two versions of Mean To Me for your listening pleasure: the original promo video and a 1988 live version.
It’s time for a visit to disambiguation city with a 1929 song of the same title. We have a double dose of Ella Fitzgerald. First with the Nelson Riddle orchestra followed by a more intimate recording with Oscar Peterson:
Have I mentioned lately how much I love Oscar Peterson? That goes for Ella Fitzgerald as well.
On that upbeat note, let’s jump to the break. And I mean it this time.
The cold weather is gone for now. We haven’t run the heater for a few days. Yay. I shudder to think what our next utility bill will be, but it won’t be like the budget-busters in unregulated Texas; at least I hope not. Freedom, man.
I’m feeling cautiously optimistic on the COVID front. But some people are already getting carried away. That’s been the pattern and it’s a lethal one. I’m keeping my guard up even after I get vaccinated, which should be in the next few weeks. Let’s be careful out there.
The featured image is by Archibald Motley who was a Jazz Age modernist active during the Harlem Renaissance. The image is of well-dressed Black ladies having cocktails. I’d call them flappers but that could cause a flap, Jack…
This week’s theme song was written by Peter Frampton for his 1973 semi-solo, semi-band album Frampton’s Camel. It’s the ultimate rock hangover song.
An edited version of a live version from the monster hit album, Frampton Comes Alive later became a hit single. How’s that for a version diversion? I hope it was diverting.
We have two versions (there’s that word again) of Do You Feel Like We Do for your listening pleasure: the studio original and a 2000 live performance.
We’ll have more about Peter Frampton after the break. We might as well go now.
I’m a slacker publisher. I have not formally welcomed Shapiro and Cassandra to the First Draft family. I’ve known both of them for years and they still speak to me. They’re clearly tolerant types. Thanks for bringing your life experiences and insights to our humble blog. There’s only one rule:
It’s still cold as hell in Louisiana but our infrastructure has held up better than that of Texas, which is a much wealthier state. It helps to have a competent governor as opposed to one who lies on Fox News. Cue Lou Costello impression:
When I searched for the phrase HEY ABBOTT, I kept seeing images of wingnutty former Aussie Prime Minister Tony Abbott. He’s much scarier than the Mummy Bud and Lou met but not quite as scary as Texas Governor Greg Abbott. Even scarier is the thought of Ted Cruz on the beach in Cancun as his constituents freeze their asses off. Are you in a narcissism contest with Pennywise, dude? Tommy T will have more on Teddy Boy on Monday. Stay tuned.
This week’s theme song was written by Robbie Robertson for The Band’s 1970 album of the same name. It was inspired by Robbie’s own issues with stage fright. FYI, a 50th anniversary remixed and reordered version of that album was released last week. It’s a dramatic sonic improvement on the original. It also features an insanely great 1971 live show from the Royal Albert Hall in London. 4 stars all the way, baby.
We have two versions of Stage Fright for your listening pleasure: the studio remix and a live version from The Last Waltz.
I didn’t know until recently that there’s an instrumental of the same title. These dudes composed it.
In addition to stage fright, I’m contemplating mummy’s right now. I guess it’s time to meet the Son Of The Mummy:
None of that Brendan Fraser shit for me, dude. It’s Karloff and Lee all the way.
Now that I’ve exhausted my mummy jokes, let’s wrap our first act up and jump to the break.
Elevated Columbus Avenue, New York by Gifford Beal.
Lou Reed wrote this week’s theme song for his 1989 album, New York. I’m on the record as thinking Reed was a better musician than a human being. New York is a good example of this dichotomy. It’s one of his best albums complete with catchy songs and razor-sharp insights.
We have two versions of Dirty Boulevard for your listening pleasure: the studio original and a live version with David Bowie.
The spelling of boulevard in listings of the song is erratic. Sometimes it’s spelled out, other times it’s abbreviated. That concludes this abbreviated comment on abbreviation.
Let’s try and clean up before jumping to the break.
Today is supposed to be the Krewe du Vieux parade. It was cancelled because of the pandemic. The timing was good for me: last year was the worst Carnival season I’ve had since coming to New Orleans in 1987. I wrote about some aspects it in a piece called The Cursed Carnival?
Shorter Adrastos: I needed a year off from Carnival so I’m not as unhappy with the situation as most people are. Some of the Krewe du Vieux sub-krewes including Spank are presenting art installations instead of marching. Since I wasn’t feeling it, I did not participate. So it goes.
John Hiatt wrote this week’s theme song for his 2003 album Beneath This Gruff Exterior. It’s one of his fatherhood songs as it describes taking his daughter to college. It also rocks much harder than the cradle ever should.
We have two versions of Circle Back for your listening pleasure: the studio original and a live version. Both feature Sonny Landreth and the Goners.
I mentioned Hiatt’s fatherhood songs. Here are two more:
Now that we’ve rocked the cradle, let’s jump to the break before we get too dizzy.
It’s been a long week at Adrastos World HQ. I’ve been tidying up my study/home office to make it easier for an AT&T tech to upgrade my internet service. It’s a daunting task. I’m a notoriously bad housekeeper so I’ve discovered dust bunnies the size of the late, great Paul Drake as well as the odd desicated peanut and Cheerio under the desk and book stacks. Clutter thy name is Adrastos.
Because of my clean-up attempt and hours spent watching the inauguration, I’m keeping this short by ditching our second act altogether. Who has time to write about longread-type articles when you’re at war with dust and clutter?
This week’s theme song is a lesser-known John Hiatt rocker. It’s a particular favorite of mine. It’s a road song that was written in 1997 for the Little Head album.
We have two versions of Pirate Radio for your listening pleasure: the studio original and a 1997 live version with Hiatt’s then crack band, the Nashville Queens:
While we’re being all piratical and shit, here’s ELP with a prog pirate song:
It’s time to shiver me timbers and jump to the break.
The cold weather is still with us in New Orleans. I’m getting more use than expected out of the light flannel shirts I bought on sale at the end of last winter. I call them my Fogerty shirts after a certain singer-songwriter you might have heard of.
The big local controversy involves the Houma based grocery chain Rouses. They came to New Orleans after Katrina. I’ve known for four years that former CEO Donny Rouse Senior is a Trumper. I processed the information back then and continued shopping there. Why? The employees at the nearby Tchoupitoulas store are so damn nice; many of them know Dr. A and me by sight and some by name.
It came out that Rouse Senior attended the Twelfth Night Trump rally. Despite claims to the contrary, there’s no evidence that he took part in storming the Capitol. A boycott movement has arisen, which I get. What I don’t get is how so many people didn’t already know about his politics. It was no secret.
I’m still where I was four years ago because 90-95% of Rouses employees in New Orleans are Black. They’re the ones who will suffer from a boycott, not the Rouse family who have stores in redder parts of the Gret Stet. Rouse Senior’s politics are terrible, but he’s retired. Additionally, the other major grocery chains are GOP donors. Boycotting Rouses to support Wal-Mart makes no sense whatsoever. I guess this means that I’m not woke. That’s okay because the idea of being woke puts me to sleep.
John Hiatt wrote this week’s theme song for his 1995 album Walk On. It’s one of the biggest-selling albums of his career.
You Must Go is the second track on the album. I’m using it to send a message to President* Pennywise: “there’s a place, you must go.”
Another reason I love You Must Go is that Jayhawks Mark Olson and Gary Louris sing back-up vocals. We’ll get to them later.
We have two versions for your listening pleasure: the Hiatt original and a recent cover by his daughter, Lilly.
I’m not quite ready to let go. What about you: Are you ready to go? Asia sure was:
One more go song, make that Go-Go’s:
My get up and go seems to have gotten up and went or some such shit. Maybe jumping to the break will revive me. Let’s go.
It’s been cold every day this year. Not Chicago cold, but New Orleans cold is damp and gets in your bones. It makes one feel creaky and cranky. I don’t know about you, but I didn’t need anything to make me feel crankier in the waning days of the Trump regime. We all just want him to exit the national scene before he wreaks more havoc. He plans to stick around but the events of the last week may make that harder than previously thought. Stay tuned.
I didn’t plan to make January John Hiatt-Edward Hopper month. It just happened that way. Once I used Stolen Moments for Album Cover Art Wednesday, the die was cast or did the cast die? I prefer the former.
John Hiatt wrote this week’s theme song for the aforementioned album in 1989. It’s a lovely mid-tempo ballad that I saw him open a show with in the late 1990’s. He sang it without accompaniment, then the band joined him for Drive South. Twas a great show.
We have multiple versions of Through Your Hands for your listening pleasure. We begin with the Hiatt original followed by covers from Joan Baez, David Crosby, and Don Henley.
Don Henley’s version was in the Nora Ephron-John Travolta movie Michael, which was about an angel come to earth. At least I think it was: I saw it in a movie theatre when it came out many years ago. I could Google it, but I’m on a roll so I won’t.
I miss attending the movies less than expected. I loved the outing and the big screen BUT I despise people who talk during the show. I’m a shusher from way back. The only one I have to shush now is Claire Trevor as she demands a handout. You’d think that the namesake of a movie star would have more respect. Cats: can’t live with them, can’t live without them.
Let’s strap on some angel wings and fly to the break. I’m tired of jumping.
A friend asked me the other day if I felt different now that I’m the publisher of First Draft. Not at all; other than nervousness at having to follow Athenae in the role. There are worse things than having a case of the jitters. I’ll take them over the heebie jeebies any day.
I considered asking Tommy and Michael to call me Chief so I could make like Perry White and do this:
I decided not to do that, but I may start saying “Great Caesar’s Ghost.” It has a nice retro ring to it. It reminds me of my salad days…
This week’s theme song was written in 1990 by John Hiatt for his Stolen Moments album. The main reason I selected it was this verse:
It’s a new light, a new day
Listening for new meaning learning how to say
It’s a new place but you’ve always been here
You’re just listening to old voices with a new ear
I thought that fit the moment as we break ground on a brand-new year.
The late folk singer Odetta also recorded Listening To Old Voices but I have been unable to find it online. The Hiatt original will just have to do.
Before we jump to the break, here’s the title track from that album:
If you have a stolen moment, let’s join hands and jump to the break together.
2020 was a dreadful year for the country but a prolific and productive one for me as a writer. I’ve posted a personal best 534 times thus far at First Draft; a figure inflated by two new music features and 25 chapters of my hitherto unpublished novel.
The first winnowing was difficult, but I reduced the number to 125 entries. Nobody wants to read a Top 125 list, so I continued cutting. It got harder and harder as I went on. It made me feel like the chap on the cover of In The Court Of The Crimson King. In the immortal words of Tim Finn, what can a poor boy do?
I decided to cut the baby in half by separating the Saturday Odd & Sods posts from the rest. I cut that list down to 5, then added my 5 favorite 13th Ward Rambler columns from my other home on the internet, Bayou Brief.
