Rubber City Review

I recently read that Jack White (White Stripes, Dead Weather, Raconteurs) produced a new album by rockabilly queen Wanda Jackson. Sounded like the perfect deal to me – love White and love Wanda. And judging by White’s inspired makeover of Loretta Lynn on 2004’s “Van Lear Rose,” I had every reason to believe that Wanda Jackson would come out of this with a whole new sense of purpose.

Well, that still might be the case… but it probably won’t have much to do with what I’ve heard so far from the White-Wanda collaboration.

The first “single” out of the chute (available on iTunes or on vinyl through White’s label Third Man Records) features two covers – Amy Winehouse’s You Know I’m No Good, and Shakin’ All Over by Sixties British rockers Johnny Kidd & The Pirates. The problem with the first is that it sounds a lot like Winehouse’s version, except without her amazingly expressive voice. And the second adds a fairly meaningless layer of horns on top of a classic rock riff that needs no help at all, thank you (the Who still owns the best remake of this song, from “Live at Leeds”).

Wanda sounds game on both cuts, but they don’t really play to her greatest strength as a vocalist – a primal sexuality with just enough purr to keep most men from running for the hills. I like to think of her as Howlin’ Wolf in drag, with a country twang.

If anything, White’s single sent me back (again) to one of the most enjoyable collections of music I own – “Queen of Rockabilly: The Very Best of the Rock ‘n’ Roll Years,” on Ace Records (UK import). It’s an embarrassment of riches… great sound, hot pickin’, cool covers of rock classics, and the unbridled pleasures of Wanda wailin’ into one of those big, tube-driven microphones.

Now, Wanda wasn’t an innovator in the same sense as Elvis or even the most dangerous rockabilly band on the planet at that time, the Johnny Burnette Trio. Her producer at Capitol Records, Ken Nelson, was known mainly for hit country singles, and he recorded Wanda at Capitol’s state-of-the-art studio in Los Angeles. So none of these songs had the same edge as the nastier stuff that came out of Sam Phillips’ studio in Memphis. But Nelson knew a great voice when he heard it – and his clean, uncluttered arrangements put the focus squarely on Wanda’s voice, just the way God and Elvis intended. Case in point… Let’s Have a Party

That cut was recorded with a mixed-race band from Arkansas called Bobby Poe & the Kats. And its dangerous attitude can be partially credited to Elvis Presley, who dated Wanda a few times when they toured together back in the mid-’50s. According to Wanda, Elvis schooled her on the blues and encouraged her to toughen up her sound by moving from country to rockabilly. Mission accomplished.

A native of Maud, Oklahoma, Wanda was raised on country music. Her father was an aspiring country singer who moved the family to Los Angeles in the ’40s, probably hoping to land a record deal with one of the city’s big labels, but eventually moved back east to Oklahoma City. His musical aspirations soon shifted to young Wanda, who won a talent contest in high school as well as the attention of country star Hank Thompson, who asked her to perform with his Brazos Valley Boys in 1954. She recorded a few singles on Capitol Records with Thompson’s band – You Can’t Have My Love reached number eight on the country charts – but certainly didn’t gain enough notoriety to make Kitty Wells nervous. Then Wanda met Elvis, signed with Capitol as a solo artist, and recorded 30-some tunes that were among the most prized possessions of rockabilly collectors around the world (until Ace Records spoiled the fun in 2000 by finally making all of them available in one place).

Wanda didn’t stick with rockabilly very long, though. After she recorded these classic sides, she drifted back to country music in 1965 and stayed there until the ’80s. This probably had as much to do with her newfound Christian faith as a realization that she simply couldn’t maintain a long career in music by shredding her vocal cords every time she stepped up to the mic.

Wanda’s ambivalence is especially apparent on this tune from 1956, which gave her a unique opportunity to have it both ways: I Gotta Know

One of the best songs on the collection is a pop-flavored number from 1961 called Funnel of Love. Here Wanda shows a little more reach with some nice vocal flourishes – and it’s surprising that such an alluring tune didn’t do better on the charts: Funnel of Love

One of the special charms of “Queen of Rockabilly” is the almost off-handed approach to some of these sessions. It seems like Nelson seldom had anything specific in mind, other than turning Wanda loose with some of the best session players in the business – including A-list guitarists like Joe Maphis, Buck Owens and, later, Roy Clark. Here’s some nifty work by Maphis on Hot Dog! That Made Him Mad: Hot Dog! That Made Him Mad

Nelson also had Wanda cover some of the era’s rock ‘n roll hits. Are they essential remakes of the originals? Not really – except maybe Wanda’s version of Brown-Eyed Handsome Man, which almost outdoes Chuck Berry’s original by switching genders for a little added sex appeal. And on a few tunes, Nelson couldn’t resist those syrupy vocal choruses that the musicians union must have required at virtually every recording session back in the early Sixties. But there’s something to admire on every song, whether it’s the “good girl gone bad” appeal of Wanda’s voice or the country soul of Roy Clark’s guitar.

Wanda eventually made her way back to rockabilly in the Eighties, fueled by the enthusiasm of roots-music fanatics in Europe and the lasting appeal of whacked-out numbers like Fujiyama Mama, which made her a minor sensation in Japan – even with its politically incorrect references to the atom bomb: Fujiyama Mama

Maybe I should lower my expectations about the White-Wanda project… Then again, maybe Ace Records did Wanda a disservice by putting all those great rockabilly sides on one CD. Why play with sparklers when you’ve got enough fireworks to light up the whole sky?

Wanda today

Wanda on video… Here’s Wanda rippin’ up Hard Headed Woman. Not sure who the guitar player is (Joe Maphis?), but he’s a sumbitch.

A fine-lookin’ Wanda covers a country tune by Webb Pierce:

‘Tis the season for holiday music playlists.  As “the guy who collects music,” I’ve received a number of Christmas-mix CDs over the years from friends, co-workers and family members.  And, sad to say, not all of them are good.  I usually come across a few smooth-jazz versions of Christmas favorites that always seem to start with those annoying wind chimes – probably twisting in the foul breeze coming from a nagging soprano sax over a faux-funky beat.  But don’t take that as another rant from someone hardened by the holidays.  I dig the classics by Frank, Dino, Bing and Ella.  And I get a little teary-eyed when I hear Nat King Cole crooning over the loud-speaker system at Best Buy.  Having said that (anyone watch “Curb Your Enthusiasm”?), I tend to prefer holiday tunes that don’t sound like they’d get beat up in the rougher neighborhoods of my iPod.  In other words, I like to hear “the root” in there somewhere, even if the root is a 14^th Century Bulgarian Peasant March (checking wikipedia on that one).  With this in mind, I’m proud to join the staff and Board of Directors at Rubber City Review to offer you this special gift for Christmas – a “sampler” of our favorite holiday tunes.  So stoke the fire, sit back and stir your nog with this meaty yule log of seasonal joy…

I guess it wouldn’t be Christmas without Elvis crooning his way through some seasonal standard.  And I had a hard time choosing among my favorite Elvis Christmas songs.  But I settled on Here Comes Santa Claus, because it seems to have a rockabilly rhythm even without the King – and I can’t resist a perfectly placed “well-a-well-a” in an otherwise hum-drum holiday song.  So slap this little nugget on the stereo as you prepare a nice meal of fried peanut butter and banana sandwiches for your family this Christmas… It’s a great way to remember the man who thought of it first. Here Comes Santa Claus/Elvis Presley

A couple of posts ago I waxed poetic about the mighty Hammond B3 organ.  You can find a wide range of recordings by the master of the B3, Jimmy Smith – big band, small combo, blues, gospel, pop – so it shouldn’t surprise you that his 20-page discography includes a pretty fine holiday collection called “Christmas Cookin’.”   Here Smith joins guitarist Quentin Warren to roast Santa’s chestnuts (well, maybe slow-boil them) in the warm, soulful sound of the classic organ combo.  If I were making the rounds on Christmas Eve, I’d stop at Jimmy’s Place and go no further. Santa Claus is Coming to Town/Jimmy Smith

What is it about an ethereal harp playing a classic Christmas song?  And no, I’m not talking about the innards of a piano.  I’m talking about the Mississippi saxophone as played by one of its greatest practitioners – Charlie Musselwhite.  Charlie bends a few notes that I didn’t know you could bend on a basic diatonic harmonica, and even manages to throw in that big, throaty vibrato you tend to hear more often on songs about murder and prison rather than odes to virgins and shepherds.  But it works… because there’s nothing more soulful than a big man alone with his blues harp (and maybe a bottle or two) on Christmas. Silent Night/Charlie Musselwhite

When I was a kid, my friend’s dad got all liquored up and stole a Christmas tree out of the parking lot of Montgomery Ward (which has since gone out of business, so I can finally speak out about this).  It’s a sad story with kind of a happy ending – after all, the family did have a tree for Christmas.  But it reminds me of another cautionary tale about what happens when the old man pours a little too much rum in his nog.  And this one comes to us from Commander Cody, a guy who knows a thing or two about the dangers of Old Demon Alcohol (he was banned from Letterman for getting trashed, and his last album was titled “Dopers, Drunks and Everyday Losers”). Daddy’s Drinking Up Our Christmas/Commander Cody and his Lost Planet Airmen

Even junkie be-boppers like Christmas songs.  Take Charlie Parker, who once said that jazz was all about “playing clean and hitting the pretty notes.”  Well if that’s the case, what better vehicle for a giant of jazz than White Christmas, which certainly has more than its fair share of pretty notes.  This take was recorded in 1948 at the Royal Roost night club in New York City – hardly the place where people went to hear Christmas carols.  But Bird tears into it like it’s Ko Ko or Donna Lee or any other original he came up with to showcase his legendary chops on alto sax.   For the few be-bop hipsters remaining on the planet, this is the only White Christmas that matters! White Christmas/Charlie Parker

Here’s a little tip for those of you who play in bar bands:  learn a Christmas song that you won’t be embarrassed to play.  Our band learned this next one in about 15 minutes – and that included 10 minutes of arguing.  Which is not to say it’s a piece of fluff.  In fact, it’s a towering achievement by Emery Williams Jr., better known as Detroit Junior.  A native of Arkansas, Williams began his career as a journeyman blues piano player in Flint, Michigan, and eventually landed in Chicago, where he cut a single for Chess and played in Howlin’ Wolf’s band for seven years.  He passed away in 2005, but left us this holiday classic that practically howls with Christmas joy. Christmas Day/Detroit Junior

I like a lot of space in my music, so I was never a big fan of the Phil Spector “Wall of Sound” treatment –  which I guess includes Bruce Springsteen (sorry, Gary!).  But let’s face it, the holiday season is not a very subtle time of year.  And even though Spector throws the kitchen sink and several other fixtures into this one, he still manages to preserve the majesty of ex-wife Ronnie’s voice, which seems to exist somewhere between the playground and the red light district.  Sure, you could speculate whether “Frosty the Snowman” is code for something far more nefarious… But I’d rather take this one at face value and assume Phil and Ronnie had a nice, uneventful Christmas that year. Frosty the Snowman/The Ronettes

At this point you may be asking, what’s your favorite holiday song?  (Hey, you stuck with me this far!)  Here’s one I have no problem listening to all year round.  Led by Cissy Houston (mother of some up-and-comer named Whitney), the Sweet Inspirations were the back-up singers of choice for artists ranging from Aretha Franklin and Wilson Pickett to Elvis Presley and Van Morrison.  This cut was recorded in 1969 at the fabled Muscle Shoals Sound Studio and features the deep southern soul of Eddie Hinton on guitar.  It’s an American classic by any measure, but sounds especially sweet this time of year.  Merry Christmas, y’all! Every Day Will Be Like A Holiday/The Sweet Inspirations

Gold-framed photos (hand-colored) from the collection of Charles Auerbach

Amazon.com Widgets

The cover song is a proud musical tradition – and it dates back centuries. Let’s face it, many popular tunes and entire forms of music wouldn’t exist today without the act of appropriating someone else’s song.

Guitar hero Richard Thompson made this point in spades several years ago when he released a set of live recordings on his own boutique label that he only half-jokingly titled “1000 Years of Popular Music.” The CD kicks off with a 13^th Century “round” and eventually gets around to covering Oops!… I Did It Again by Britney Spears.

The cover song seemed to reach its peak, at least in terms of significance, in the 1940s and ‘50s. At that time, songs recorded by black R&B and blues artists were typically segregated onto so-called “race” labels – Modern, Aladdin, Savoy, etc. But some of those artists started covering songs by white honky tonkers – for example, Bull Moose Jackson’s Why Don’t You Haul Off and Love Me, a cover of a 1949 country hit by harmonica player Wayne Raney – and aspiring white rockers began perfecting their own form of musical thievery.

Of course, this whole cross-pollinating thing led to what may be the defining moment in 20^th Century music – Elvis Presley’s cover of a little ditty by Arthur “Big Boy” Crudup, That’s All Right Mama.

For the most part, the covers by white artists pale in comparison to the originals, but there are a few exceptions. Here’s the original version of The Train Kept A-Rollin’, by jump-blues bandleader Tiny Bradshaw: The Train Kept A-Rollin’ (Tiny Bradshaw)

Now here’s the cover by an especially dangerous rockabilly band from the Fifties, the Johnny Burnette Trio: The Train Kept A-Rollin’ (Johnny Burnette Trio)

Johnny Burnette Trio

I’d argue that the Trio kicked it up a notch or two, fueled by Johnny’s well-placed screams and Paul Burlison’s gut-bucket guitar. And I won’t even bother with the far more popular version by Aerosmith, which ranks a distant fourth in my book (a Columbus bar band came in third).

Quick aside about those screams: Apparently, Burlison liked to place his lit cigarette on the loose end of one of the strings sticking out from the head of his guitar. Band is tearing it up onstage… Johnny backs into the lit cigarette… screams bloody murder… crowd goes wild… rest is rockabilly history.

There are far more examples of definitive originals by black artists. If you’re only familiar with Elvis’ cover of Hound Dog, brace yourself… the original by Big Mama Thornton will make you forget all about The King’s version: Hound Dog

A mutant offspring of the cover is the “answer song,” which also peaked around the same time. It’s a fairly simple concept, and I’ll let this response to Big Mama’s Hound Dog speak for itself… Bear Cat

You get the idea… The accuser is Rufus Thomas, who was a mainstay on Memphis’ fabled Stax-Volt label throughout its glory years. Here’s another answer song from the label’s catalog, with Jeanne & the Darlings take on Sam & Dave… Soul Girl

The Rolling Stones started out as little more than a decent cover band, doing their own versions of Chicago blues standards. Here they put their stamp on a classic by Muddy Waters… I Just Want To Make Love To You

The Beatles also cranked out more than a few covers, including a version of this original by soul singer Arthur Alexander, who was one of John Lennon’s favorites (he reportedly had a jukebox that only played Alexander’s 45s)… Anna (Go To Him)

Alexander also was covered by the Stones (You Better Move On) and spent years in obscurity before he was rediscovered in Cleveland, driving a school bus. He put out a strong comeback album – “Lonely Just Like Me” – before passing away in 1993.

Today, it seems like indie rockers, hip-hoppers and country hit-makers are lined up to pay tribute to anyone from Marvin Gaye to the Grateful Dead. But much of those tribute songs are totally unnecessary and only serve to send the listeners back to the originals. A few rise above the fray, like Bob Dylan’s cover of a Hank Williams tune from the 2002 Grammy-winning tribute, “Timeless.” Now I’ll just come out and admit that I’m not a big fan of Dylan’s recent vocal stylings (he makes Billie Holiday’s final performances sound too polished). But I like how he wheezes his way through this one (great phrasing) as his ace band drags Hank into a west Texas dance hall… I Can’t Get You Off Of My Mind

During the summer months, you can’t miss the steady parade of tribute bands coming to an ampitheater near you – covering well-worn songs by the Beatles, the Stones, the Eagles, Fleetwood Mac… even U2 and the Dave Matthews Band. These bands take boomers back to days when they could get a contact high at most rock concerts (although that tradition seems to live on at jam-band shows).

But that’s not quite the same as musicians trying to reinvent the songs they love… and maybe even create something a little better (or at least different) in the process.

Oh, and if you’re still wondering what Richard Thompson did with Britney Spears… Oops!… I Did It Again

A few favorite covers…

Actually, just picking the right song to cover is a creative process that can say a lot about a band or musician. Here are a few covers that head off in different directions from the originals.

Let’s start with the oldest – Milk Cow Blues. Kokomo Arnold recorded the original back in 1930, and it’s one of those tunes that country musicians pounced on right away, probably because of the lyrics. It’s been covered by many artists – Robert Johnson (as Milkcow’s Calf Blues), Elvis at Sun Studios (as Milkcow Blues Boogie), Willie Nelson, Ricky Nelson, the band Nelson (strike that last one)… but my favorite is a western swing version from 1941 by Johnnie Lee Wills, brother of Texas legend Bob. Back then, it was a much shorter walk from blues to country, and Wills’ singer barely takes a step. He’s Cotton Thompson, a long-forgotten fiddle player (the world’s first blue-eyed soul singer?). Kokomo’s original comes first, then the cover.Milk Cow Blues (Kokomo Arnold/Johnnie Lee Wills)

The title of Young Man’s Blues is a little misleading, because neither of the following two versions falls neatly into the blues category. The originator is Mose Allison, really a jazz guy who played a lot of blues-based songs, and a keen observer of the human condition. The imitator is The Who, from the 1970 album Live at Leeds. Now I’m not a huge fan of everything The Who put out, but I like how they reworked the original – transforming it from a laid-back lament into a defiant rocker… Roger Daltrey is one pissed-off young man!Young Man’s Blues (Mose Allison/The Who)

Johnny Cash has been covered by hundreds of musicians of every stripe – roots-rockers, hillbillies, punks, metalheads… And roots-music explorer Ry Cooder has made an entire career out of reinventing other people’s songs. This next one is the flip side of The Who’s approach – Cooder takes Cash’s signature “Tennessee Three” treatment and slows it down… and in the process, turns it into something far more ominous (we’re not quite sure where this train is heading). I especially like the instrumentation on this cover – just mandolin, piano (the late Jim Dickinson, a Memphis icon) and upright bass.Hey Porter (Johnny Cash/Ry Cooder)

If their recent reissues proved anything, the Beatles are an even bigger draw today than they were back in 1964. But their songs haven’t been covered by other artists as much as you might think. Could be that the Beatles catalog is considered sacred canon by many musicians – or maybe it’s just too damn hard to improve on the originals. But that didn’t scare off The Holmes Brothers, who have developed a strong following with their unique brand of gospel-infused R&B. This one knocks me out every time I hear it – a soulful take on an old Beatles favorite.And I Love Her (The Beatles/The Holmes Brothers)

Musicians seem to have an easier time covering Dylan… might have something to do with the demo-like quality of albums like “The Basement Tapes” with The Band, which gave us the original version of Going to Acapulco. The cover shows up 40 years later on the soundtrack to “I’m Not There” – a surreal look at various incarnations of Dylan throughout his career. I was unimpressed with most of the soundtrack, but this one stands out as the Tucson band Calexico paints a desert soundscape behind the stunning voice of Jim James (My Morning Jacket). Better than the original? You be the judge.Going to Acapulco (Bob Dylan/Jim James & Calexico)