Clarence Clemons: You’re a Friend of Mine

Clarence Clemons You're a Friend
Chimesfreedom sends out wishes and prayers for Clarence Clemons, who is seriously ill after suffering a stroke. According to reports, although Clemons has had a number of health problems in the past, this time, members of the E Street Band have been asked to go see Clemons in Florida as soon as possible.

You cannot mention Clemons without the modifier “legendary saxophonist,” for all of his great work with Bruce Springsteen as a member of the E Street Band, not to mention his work with other artists, including playing on Lady Gaga’s most recent album. Yet, while others in the E Street Band have larger singing roles, Clemons’s voice is also an important part of the complete package. In 1985, he even had a singing top 20 hit when he released “You’re a Friend of Mine, singing with Jackson Browne (and Daryl Hannah).

The best part of the song is the title, as when we think of Clemons, one of the first things we think about is his lifelong friendship with Bruce Springsteen and the rest of the band. On stage, Clemons, Springsteen, and the rest of the band interact in a way that shows a bunch of friends having fun. Because of that, we audience members feel like we get to share a tiny bit in that friendship. We all hope to maintain friendships like that in our own lives. Big Man, for your music and your friendships, our thoughts are with you.

Update June 13 Evening: Latest reports are that after two brain surgeries, Clemons is in stable condition and making progress. June 18 Update: Clarence Clemons passed away. For our post on his passing, head to this link.

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    Great Song, Bad Name: Hot Burrito #1

    Gram Parsons (1946-1973) created a lot of great music in his short life. His work as a solo artist and with bands such as The Byrds and The Flying Burrito Brothers greatly influenced the country-rock and alt-country movements. He helped Emmylou Harris start her career. He was friends with Keith Richards and supposedly influenced some of the music made by the Rolling Stones.  And he helped create the wonderful strangely named song “Hot Burrito #1.”

    Burritos
    Burrito
    Once upon a time you let me feel you deep inside

    “Hot Burrito #1” appeared on the Flying Burrito Brothers Gilded Palace of Sin (1969) album.  It was written by Parsons and the band’s bass player Chris Ethridge.

    “Hot Burrito #1” is a great song with a horrible name.  The song, of course, has nothing to do with burritos, and the band’s use of the word “burrito” was not limited to the one song. The band liked to play around with the “burrito” theme, naming their next album Burrito Deluxe. And yes, there is a “Hot Burrito #2.”

    Reportedly, the original use of “burrito” came from bassist Ian Dunlop, who had been in the International Submarine Band and then started a group called “The Flying Burrito Brothers” before Parsons and Chris Hillman borrowed the name for their band.  Dunlop still makes music and also is an artist.

    At one point, Parsons and Hillman had a house in San Fernando Valley that they called “Burrito Manor.”

    Versions of “Hot Burrito #1”

    “Hot Burrito #1” has been recorded and covered by other artists, including Raoul Mao, The Black Crowes, the Cowboy Junkies, and Yim Yames of My Morning Jacket. The song has been covered around the world, including a version by Japanese band Ma’am.

    Elvis Costello recorded the song, but apparently he did not like the name so he renamed it, “I’m Your Toy.” Even though “Hot Burrito #1” is an odd name for a song, “I’m Your Toy” is not really better. Similarly, Jose Feliciano renamed the song with the forgettable title, “Not That Kind of Guy.”

    One sign of the greatness of the song and the melody from Chris Ethridge is that it holds up well no matter who sings it. But it is especially powerful in the Parsons version.

    The song starts out with the singer speaking to a former lover, telling her how she will miss him (“You may be sweet and nice / But that won’t keep you warm at night”). Then slowly you begin to hear the aching desperation in the singer’s voice and in the lyrics (“But I don’t want no one but you / To love me, no I wouldn’t lie”).

    The A Side

    Interestingly, even though we know “Hot Burrito #1” as a classic song, it was not released as a single, only appearing as the B side of the only single at the time, the less memorable “The Train Song.” “The Train Song” was recorded after The Gilded Palace of Sin was completed but released as a single.

    While numerous cover versions of “Hot Burrito #1” are now on YouTube, the A side is not available there at all (you may hear a clip of The Train Song on Amazon). It just goes to show that you cannot judge a song by its initial release, or by its name.

    Do you like the song? What is your favorite great song with a bad name? What other songs have cover artists renamed? Drop a comment.

    Correction: An earlier version of this post incorrectly implied that “The Train Song” appeared on The Gilded Palace of Sin. Even though the song was released as a single to promote the album, it was recorded after the album was completed. The single “The Train Song” did eventually appear on Hot Burritos! The Flying Burrito Brothers Anthology 1969-1972 (2000). September 2013 Update: A live version of “The Train Song” is now on YouTube.

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    The Les Paul & Mary Ford Show

    Les Paul Guitar
    Les Paul, who passed away in 2009, was born in Wisconsin on June 9, 1915. His guitar playing and innovations, like his development of the solid-body electric guitar, are responsible for much of the music we hear today.

    Among his many accomplishments, in the 1950s he had a five-minute syndicated television show with his wife at the time, Mary Ford. During that decade, Ford and Paul had a string of hit jazz songs, and The Les Paul & Mary Ford Show was often used to fill in space between regularly scheduled shows.

    You may read more about Les Paul’s life at the Les Paul website.

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  • Listen My Children and You Shall Hear Inaccuracies About Paul Revere

    On June 2, 2011, while traveling on a tour of U.S. historical sites, Sarah Palin sparked interest in Paul Revere because of her claim that the famous rider warned “the British that they weren’t gonna be takin’ away our arms. . . by ringing those bells.” I suppose how one feels about her statement about Paul Revere — who actually rode to alert the Americans about the approaching British and who did not use bells — may depend on pre-existing feelings about the speaker. So, we will leave the debate about her statement and her continued claims t

    hat she was correct to the political commentators and others, including those attempting to rewrite Revere’s Wikipedia entry. But the interest in the historical event is a good side effect of her statement.

    Revere’s Famous Ride
    Paul Revere Picture Book
    Revere made his famous ride near Boston on the evening of April 18, 1775.  The British were on the move to seize military stores in Concord. According to the excellent one-volume history of the U.S., A History of the United States by Alan Nevins and Henry Steele Commager:

    “Patriots were on the watch and a lantern in the tower of North Church flashed word to Paul Revere beyond the Charles River, who galloped off to arouse the countryside. The embattled farmers gathered at dawn with their muskets . . . There was a brief skirmish, eight Americans fell dead, and the Revolution was under way. Sam Adams was not far away, and as he heard the rattle of the guns, he exclaimed: ‘What a glorious morning is this!'”

    To give Palin some credit, she did recall correctly that the ride was prompted by the British plan to seize weapons. I suspect some of her critics did not recall that part of the story themselves. Further, she is not the first to make historically inaccurate statements about the ride.

    Henry Wadsworth Longfellow’s Version

    In Henry Wadsworth Longfellow’s famous poem, “The Midnight Ride of Paul Revere,” he exaggerated Revere’s role by ignoring the other riders. And Longfellow’s poem inaccurately claimed that Revere made it all the way to Concord.  In fact, British soldiers captured him and took away his horse.

    But Longfellow’s goal was to tell a tale about a national hero, not to teach history. Hence we have the term, “poetic license.” Still, the famous opening lines of the poem make it easy for one to remember the correct date of the ride:
    Paul Revere and the Raiders
    Listen, my children, and you shall hear
    Of the midnight ride of Paul Revere,
    On the eighteenth of April, in Seventy-Five;
    Hardly a man is now alive
    Who remembers that famous day and year.

    Paul Revere and the Raiders

    There is another famous “Paul Revere.” He was in Paul Revere and the Raiders, the band that had several hits in the 1960s and 1970s. Paul Revere the rider started out as a silversmith.  And the Raiders’ musician Paul Revere started out as a barber in Boise, Idaho. “Paul Revere” was his real name, although Revere was his middle name and his full name was Paul Revere Dick.

    The band’s biggest hit was “Indian Reservation (The Lament Of The Cherokee Reservation Indian),” which was written by songwriter John D. Loudermilk. Mark Lindsay, the lead singer of Paul Revere and the Raiders, was part Native American and wanted to record the song even though it was released a few years earlier by Don Fardon.

    During the summer of 1971, aided by Revere’s promotion of the song with a cross-country motorcycle ride, the Raiders version of “Indian Reservation” became the most popular tune in the U.S. and the biggest hit Columbia Records had ever released.

    “Indian Reservation” also became the most popular song in my childhood home that summer, as my older sister purchased the 45 record and played it repeatedly. Some Native Americans used the Paul Revere and the Raiders version in their struggle for civil rights.

    In addition to the version by Paul Revere and the Raiders, the song would later be covered by UK band 999 and be sampled in a Tim McGraw song.

    The Cherokee

    Like Longfellow’s poem about Paul Revere, the song by Paul Revere and the Raiders was based on historical events. In the early 1800s, Cherokee Indians lived around Georgia.  But as new pioneers came to the land with its fertile soil, conflicts soon arose. Although the tribes had built houses and settled in the area, the incoming white settlers desired more land.

    In 1838, the Federal government ordered that the Cherokee be resettled in the western United States. The Cherokee were sent from Georgia and other states along with other Native Americans, including Creeks, Choctaws, Chickasaws, and Seminoles.

    Many of the Cherokee died as they made the long trip.  They traveled largely on foot and by wagon, facing exposure, hunger, and illness. Because of the sorrow and death caused by the removal, the forced march to what is now Oklahoma became known as the Trail of Tears.

    As Paul Revere and the Raiders sang, “Cherokee people, Cherokee tribe/ So proud to live, so proud to die.” In upcoming political campaigns, all of our politicians would do well to remember these parts of American history — and perhaps visit those historical sites too — in addition to taking pride in the the glorious stories like the one about Paul Revere’s ride.

    What do you think about Paul Revere, the Raiders, the song, or the media coverage of Sarah Palin’s statement? Leave a comment.

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    Can You Hear the Artist’s Life in the Song?

    On Sunday, May 22, 2011, Joseph Brooks — the writer of the song “You Light Up My Life” — was found dead in his Manhattan apartment, apparently having killed himself while waiting trial for the sexual assault of more than twelve women. Prosecutors claimed that he brought women to his apartment through an online ad saying he was giving auditions for a movie role, and then he allegedly drugged and raped them.

    According to some reports, he would sometimes show the Academy Award he won for “You Light Up My Life” to help gain the trust of the young women. In killing himself, the 73-year-old Brooks wrapped a plastic bag around his head and attached it to a helium tank. On top of those allegations, his son was arrested five months earlier for strangling his girlfriend to death.

    You Light Up My Life

    A jury had yet to hear the case against Brooks, so we do not know the extent of his guilt or innocence of the charges. His 3-page rambling suicide note left no clues about the alleged crimes and alluded to his health problems, as he had suffered a stroke in 2008 followed by declining health.

    For those of us who grow up hearing Debby Boone’s version of the song “You Light Up My Life,” it was a sad coda to the story behind the mega-popular song, which originally was sung by Kasey Cisyk for a movie of the same name. Actress Didi Conn lip-synced the song in the movie, which was written and directed by Brooks. The song won the 1977 Grammy for Song of the Year and an Academy Award, and Boone’s version set records as the biggest hit of the 1970s. But it was so overplayed, I doubt that many people listen to the song nowadays except at weddings.

    “You Light Up My Life” is still a very good song, but we are just sick of it, on top of the covers by LeAnn Rimes, Whitney Houston, and others. Still, I cannot help wondering how the news about Brooks will affect how people hear the song.

    In music, can you hear the artist’s life in the song? In addition to Brooks, consider producer and convicted murderer Phil Spector, and how his conviction might affect how we view the great songs he produced throughout his career. Maybe because Spector was a producer and not the performer, his troubles do not hinder my enjoyment of his songs, such as one of my favorite songs of all time, “Be My Baby” by the Ronettes. But I do sometimes think about the man when I hear the songs, wondering if the madness occasionally peeks through the swirling layered sounds.

    Brooks’s ending may tarnish “You Light Up My Life” more than Spector’s life may tarnish his songs. Spector’s work was so broad with different artists, while Brooks’s work will always be summed up with “You Light Up My Life” as his one gigantic hit song. Thus, while each Spector-produced song may carry a little part of his madness, “You Light Up My Life” bears the entire weight of Brooks’s demise. But it is also true that the relationship between the artist’s crimes and her or his music may diminish over time, such as in the case of other artists like Lead Belly or Chuck Berry.

    To a large extent, most of us probably enjoy music because we like how it sounds, not because of the life of the musicians. I enjoy music by jerks too, but when the artist is a decent person, it can add something. It may be something unconscious in the back of one’s mind, but I like to think that upon listening to the whole body of work of some artists, their decency may come through into their songs.

    For example, I feel fortunate that two of my favorite artists have been Bruce Springsteen and Steve Earle, not only because of their great music but because they have struggled to live good lives. Like all humans, they are not perfect, but I was lucky that after I was drawn to their music I later discovered their work for good causes and attempts to be decent men. You may find it in other artists you like, such as John Lennon, Emmylou Harris, Elton John, or U2, which has been involved with causes such as Amnesty International.

    Can I find the troubled mind of Joseph Brooks in “You Light Up My Life” now? I may be imagining what I hear in 2011 in the song that won the Academy Award and the Grammy so long ago in 1977. But now the sadness of the song stands out a little bit more. I hear it in Debby Boone’s recording, and I hear it in this 1979 version below by punk rocker Patti Smith on “Kids Are People Too.” In Smith’s performance, she is accompanied on piano by a young Joseph Brooks, decades before he knew how his life would end.


    At around 3:10, Smith, who also performed the song in concert, begins explaining why she chose “You Light Up My Life.” With the brilliant Patti Smith, though, one may speculate there is more to the reason she often sang the song. Brooks appears at around 3:45.

    Do you think the lives of the artists affect how you see and hear their work? Do hidden stories, like the story behind “Heartbreak Hotel” affect the music? Leave a comment.

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