jeffreymark

CELEBRATING COLE PORTER'S 117TH

He gave us humorous lyrics such as "Miss Otis regrets she's unable to lunch today, madam." Seems Miss Otis found herself in an awful mess when she shot her mean mistreating lover and wound up in jail. Often times his songs became a well spring expressing the deep, enigmatic, complicated character of a man who struggled with his own self identity and sexuality. Telling lyrics from Anything Goes written in 1934, convey a concern over a perception of morals spiraling toward the pits of chaos. Yet, who knows. In today's world gone mad, where anything is possible, Mr.Composer's lover might just give an answer to his proposal.

Times have changed,
And we've often rewound the clock,
Since the Puritans got a shock,
When they landed on Plymouth Rock.
If today, Any shock they should try to stem,
'Stead of landing on Plymouth Rock,
Plymouth Rock would land on them.

In olden days a glimpse of stocking
Was looked on as something shocking,
But now, God knows,
Anything Goes.

Good authors too who once knew better words,
Now only use four letter words
Writing prose, Anything Goes.

The world has gone mad today
And good's bad today,
And black's white today,
And day's night today,
When most guys today
That women prize today
Are just silly gigolos
And though I'm not a great romancer
I know you're bound to answer
When I propose,
Anything goes

Born June 9, 1891, Cole Porter's genius emerged around ten years of age when he began composing music. His privileged parents, particularly his mother Kate, opened the precious doors of experience and subsidized the publishing of his music. While attending Yale, Porter wrote school fight songs and other numbers readily used by various student organizations. His music declared the surreal superiority of Yale men, who eagerly promoted his compositions to the less attentive public.

Porter's early career was indicative of pre depression era mores. In 1917 he traveled to a war torn France. While there he lied about his service in the military and began experimenting with drugs. Sources abound explicitly describing Porter as a bisexual which fit his debaucherous Paris disposition. These early years brought frustration and failure to Cole Porter. He failed to produce any works of significance.

In 1929, however, Porter's fortunes reversed and he wrote the smashing hit show Fifty Million Frenchmen. His most intimate and compelling works were often born out of frustration and tragedy. Like many successful composers Porter summoned from deep within his excruciating pain, the fires of creativity that endeared him to millions including the musical stars of the day. John Lair of The New Yorker, paints for us a vivid example of his creative character:

On October 24, 1937, Cole Porter went out for a horseback ride at the Piping Rock Club, in Locust Valley, Long Island €”one of those swank playgrounds whose names he liked to rhyme in song and which signaled his fully paid-up membership in the Elegentsia. In the woods, the skittish horse, which the forty-six-year-old Porter had been warned against riding, shied and fell on him, crushing both his legs. According to Porter a story that William McBrien, the author of €œCole Porter: A Biography€ (1998), finds it €œdifficult to believe, €”he passed the excruciating hours while he waited to be rescued, composing the lyrics to an elusive verse of his song €œAt Long Last Love. The moment was pivotal in Porter€™s life; so, too, was his recounting of it. The lyrics to €œAt Long Last Love€ are, of course, exquisite. €œIs it an earthquake or simply a shock? / Is it the good turtle soup or merely the mock? / Is it a cocktail, this feeling of joy? / Or is what I feel the real McCoy? €”But, Porters talent for masquerade, for turning life'€™s griefs and glories into an impudent game, didn'€™t end there. In grueling pain for decades after the accident, forced to walk with braces and canes, he nonetheless had the humor to give his lame legs names: the left he christened Josephine, the right Geraldine, €œa hellion, a bitch, a psychopath.

Cole Porter's trademark syncopated rhythms and cutesy rhymes inspired John Q. Public to walk down the street with a spring in his step, effortlessly snapping fingers to the tune playing in his mind, while oblivious to the possibility of curious eyes following his trail. This number from the 1956 musical High Society features the immortals Bing Crosby and Satchmo (Louis Armstrong)enthusiastically pumping out one such piece. The number entitled Now You Has Jazz sarcastically places a sophisticated face on a declasse genre.

In 1958 Cole Porter lost his injured leg. Along with it he lost his inspiration to compose. He died October 15, 1964, a broken man and a social recluse. Although his personal life imbrues our minds with grief, Porter's compositions shall remain eternally etched in the American soul. Indeed, he made us laugh, he made us cry, but most of all he put a song in our hearts. Therefore today, we once again "begin the Cole Porter beguine:

When they begin
the beguine
it brings back the sound
of music so tender
it brings back a night
of tropical splendor
it brings back a memory of green

I'm with you once more
under the stars
and down by the shore
an orchestras playing
and even the palms
seem to be swaying
when they begin
the beguine

to live it again
is past all endeavor
except when that tune
clutches my heart
and there we are swearing to love forever
and promising never
never to part

a moments divine
what rapture serene
to clouds came along
to disperse the joys we had tasted
and now when I hear people curse the chance that was wasted
I know but too well what they mean

so dont let them begin the beguine
let the love that was once a fire
remain an ember
let it sleep like the dead desire I only remember
when they begin the beguine

oh yes let them begin the beguine
make them play
til the stars that were there before
return above you
till you whisper to me
once more darling I love you
and we suddenly know what heaven we're in
when they begin
the beguine

THE GIRL'S GOT FEVER

Yesterday was the immortal Peggy Lee's 88th birthday. I fully intended to publish a piece honoring this multitalented diva and absolutely forgot. The ever intriguing folks at Power Line filled the void with their own compelling tribute to Miss Lee. Not to take away from their work I thought I might add a few notes of my own with a belated birthday salute.

Peggy Lee, born Norma Deloris Egstrom into a family of hardship (her mother often beat her and her dad drank too much) Miss Lee rose above the adversity in Phoenixesque style. She set a precedent for vocalists and woman in particular. Prior to her arrival singers rarely ever wrote their own songs. Likewise, writers, often bereft of vocal talent, handed their music over to specialists. Peggy Lee broke that mold and wrote the words to much of her material. She finished off the product with a sultry demeanor and raspy voice sure to hypnotize the most harden personality. For example, listen to this early piece backed by Benny Goodman, Lee's star maker. The song, not a Lee original, initially launched her into stardom and subtly hints to her man that she has had it with his philandering. Now he must get to work if he wants to keep her. It feels a bit mafioso-as if Lee is the only woman that can tame the Don.

During the 1940's big band days bands such as Goodman's and others took the spotlight while featuring a vocalist. Peggy Lee's popularity enticed her to follow in the footsteps of other well known vocalist and launch out on her own. The move payed off. In 1958 Miss Lee added her words to an Otis Blackwell composition entitled Fever. The song, forever etched in the American musical soul, became Peggy Lee's signature number. Lee's crowning creative genius emerged during her collaboration on Walt Disney's Lady and the Tramp. She, along with Sonny Burke, created the songs for the film's soundtrack. Miss Lee also provided vocals for four characters and sang the famous double tracked Siamese Cat Song. She later sued Disney over a breach of contract.

Indeed, Peggy Lee's rags to riches story is the stuff made to inspire the most disadvantaged among us. Her turning misfortune and early pain into triumphs epitomizes the American spirit. That's why her story must get told from time to time. Thank you Miss Lee, for challenging us all to reach a little higher.

ALL THAT JAZZ

One of my favorite online learning tools is the Teaching Company. On numerous occasions I have purchased their lectures and listened to them while I drive. The discs provide an abundance of entry level courses designed to inspire students to launch out into the deep. Recently I purchased the course on Jazz. This particular series provides an introduction and history to the development of the Jazz genera. One can go here to discover more about this American phenomenon whose roots sprouted from the African-American culture. Provided in this link are other links to rare Jazz recordings.

LOOK DOWN THAT CHALLENGING ROAD

Today is the immortal Ella Fitzgerald's birthday. Her versatility and particularly her songbooks, will forever live in the hearts of jazz and pop fans everywhere. Scott Johnson publishes a compelling tribute to this fabulous vocalist. In addition to Johnson's piece one might note the video below featuring Ella with the king of smooth, Andy Williams. This 1967 performance of Lonesome Road is the only time I ever witnessed a strain on William's face. He always made it look so easy. But, this one performance with Ella clearly challenged Mr. Smooth. Listen to this remarkable progression toward complexity as the song builds to a climax. And read Johnson's salute to Ella here.

THE ZEPPELIN HAS LANDED

Arguably history's most charismatic, cutting edge rock band finally played their long awaited reunion concert. Nineteen years ago Led Zeppelin burned out and called it quits. Yesterday the Zeppelin landed for one magnificent night of celebration. Go here for the full 07 reunion report.

I attended a Zeppelin concert over 30 years ago. I must say my ears continue to pleasantly ring this day from the event. Led Zeppelin upped the London blues sound to a new level-a psychedelia level. Let's get real, their music targeted a dropped-out turned-on crowd enshrouding their listeners with a hazy sort of mystical feel epitomized by the song entitled Ballad of Evermore. I personally got enthralled with Robert Plant's howling falsetto. Most of my peers, however, attended the concert for the sole purpose of listening to master guitarist and Zeppelin creator Jimmy Page meticulously hammer away at his craft. And hammer away he did. The other members of the band often selflessly relinquished the spotlight to the master.

I wondered about Plant appearing as a weak link. Obviously solo efforts indicate an aged voice straining to hit the high notes he once glided through effortlessly. But initial reviews from Hollywood Reporter paint this positive picture of the matter:

They began with a brisk version of "Good Times, Bad Times," with Page's guitar crisp and clear but Plant's voice cramped by feedback. When "Ramble On" followed, Plant's microphone was working better and he sounded in good voice, growling and snapping just like he used to.

(Hat Tip: Chuck's Weird World)

Watch below as Led Zeppelin performs my favorite rock song just a as I remember it played one night long ago and far away. (How about that Jimmy Page? And the late John Bonham made a pretty good drummer as well.)

ERIC CLAPTON'S SPIRITUAL JOURNEY

Thunderstruck posts Eric Clapton's description of his spiritual awakening :

The noise in my head was deafening, and drinking was in my thoughts all the time. It shocked me to realize that here I was in a treatment center, a supposedly safe environment, and I was in serious danger. I was absolutely terrified, in complete despair. At that moment, almost of their own accord, my legs gave way and I fell to my knees. In the privacy of my room, I begged for help. I had no notion who I thought I was talking to, I just knew that I had come to the end of my tether, I had nothing left to fight with. Then I remembered what I had heard about surrender, something I thought I could never do, my pride just wouldn’t allow it, but I knew that on my own I wasn’t going to make it, so I asked for help, and, getting down on my knees, I surrendered. Within a few days I realized that something had happened for me. An atheist would probably say it was just a change of attitude, and to a certain extent that’s true, but there was much more to it than that. I had found a place to turn to, a place I’d always known was there but never really wanted, or needed, to believe in. From that day until this, I have never failed to pray in the morning, on my knees, asking for help, and at night, to express gratitude for my life and, most of all, for my sobriety. I choose to kneel because I feel I need to humble myself when I pray, and with my ego, this is the most I can do. If you are asking why I do all this, I will tell you…because it works, as simple as that. In all this time that I’ve been sober, I have never once seriously thought of taking a drink or a drug. I have no problem with religion, and I grew up with a strong curiosity about spiritual matters, but my searching took me away from church and community worship to the internal journey. Before my recovery began, I found my God in music and the arts, with writers like Hermann Hesse, and musicians like Muddy Waters, Howlin’ Wolf and Little Walter. In some way, in some form, my God was always there, but now I have learned to talk to him.

BONO THE REAL DEAL

Lot's of Rock stars sing about love, but Bono of U2 fame lives it. Take a trip into retro land and listen to this still powerful, insightful piece written for BB King with references to Christ's love.

THE KING OF GHOULS

During the 70's Alice Cooper struck fear in the hearts of parents and laughter in teens over his ridiculous ghoulishness. Cooper once candidly boasted he played whatever the parents hated. Thus, revealing at a young age his marketing ingenuity. Prodigal son Cooper (Vincent Furnier) belied his baptist preacher Father and shocked millions with his on stage antics involving chains, whips, a dramatic guillotine act, and haunting makeup. Initially his band collectively took on the name Alice Cooper. After breaking up Vince Furnier officially adopted the name. The origins of the name, to this day, remain shrouded in mystery. The Coop has impishly suggested several stories as to how the name came into being.

Ironically, Cooper always held a conservative political philosophy even while immersed in a Vietnam anti-establishment culture. Cooper admits to bouts with alcoholism discovering relief when he embraced his family's Christian faith-an act that not only saved his marriage, but his life as well. The Coop now performs at breakneck speed, and plays golf daily. He is indeed a scratch golfer. Celebrities often fight over who gets Cooper as a partner during benefit tournaments.

I've seen Alice Cooper in concert twice. I must say he puts on the best show, hands down, of any aging rocker I've witnessed. His Vincent Price like skits, together with compelling double lead guitars, and his daughter's exemplary theatrics make his show a delight for the whole family...well...teens and up. This halloween I salute the Coop who, when off stage, epitomizes Christian character. God bless this creative genius. Watch below a performance from his Brutal Planet tour.. His daughter plays the devil woman popping the whip.

And my favorite "The Ballad Of Dwight Fry," again with his daughter.

ERIC CLAPTON NO LONGER SINGS THE BLUES: Spiritually that is. His new autobiography reveals a redeemed character.

THE BRITISH INVASION ON STEROIDS

The British Rock invasion of the 60s mesmerized me. It came at an impressionable time in my life. When I turned 9 (1964) my mother brought home a record by a little known, soon to be phenomenon group named Beatles. British accents, long hair, and mysterious dispositions passionately captured my attention. They sounded like the local neighbors who repetitiously banged away at their version of the song "Money" in a garage down the street. That offbeat sound now stylishly arrived in waves of groups hitting our shores from England. One particular group, however, called Yardbirds failed to tickle my fancy. Their dark, bluesy sound came from London, unlike the foot stomping, bright, and happy rockabilly style emerging from Liverpool. The Yardbirds disappeared in a flash, never to be heard from again, or so I thought.

Meanwhile, during the dropped out and turned on 70s I developed a liking for several celebrated guitarists. Musicians such as Jimmy Page (who I saw in concert) Eric Clapton, and Jeff Beck all inspired me to dream of a "some day" when I too would stand on stage luring women's fantasies and painting men green with envy. Following this brief dark ages of my life, came the 80s, and 90s carrying the news that Page, Clapton, and Beck all played guitar for the Yardbirds. One day my inquisitive spirit prompted me to purchase a Yardbird's oldie. I excitedly listened to Clapton sing a dull recording entitled "For Your Love." After a few apathetic attempts to fall in love with the music I stored the CD away. Then came the new millennium, XM radio, and the Yardbirds. They simply refused to go away. But this time, while hearing their live performance on Top Tracks, the group, a contemporary Phoenix, sounded like Brit. rock on steroids. This stuff was good-really good. And only two members, Chris Dreja and drummer Jim McCarty from the original 60s band, plays in the Yardbirds today. Their lead singer Keith Relf died tragically in 1975.

Their latest recording entitled Live AT B.B. King Blues Club takes one on a ride through retro-land sporting contemporary high tech equipment. The production contains all the familiar Yardbird classics such as Train Kept a Rollin', I'm A Man, and Shape of Things the way they needed to sound 40 plus years ago, but couldn't because of limited technology. Now that sound tech caught up with the Yardbirds one can relax, put on the old headphones, and listen to an outstanding London nightclub style performance. Lead guitarist Ben King, does a yeoman's job in filling the shoes of the immortals Beck, Clapton, and Page. King's rendition of classic Dazed and Confused particularly displays an authority second to none in handling the 50s tinny sounding Fender Telecaster. No need to call the old guys back with Ben King at the helm. In addition, original 60s drummer Jim McCarty literally plays like a young man on fire. His steady hands undergird this compelling live performance-one wich will not disappoint. Check out their website for touring information.