This is another of those records I’ve had forever.
“Nilsson Schmilsson,” its 1971 predecessor, was one of the first few LPs I ever bought. Thinking back, I probably bought it with Christmas money. I know it from front to back. Loved it then, love it now.
So of course when “Son of Schmilsson” came out in the summer of 1972, I bought it right away. Thinking back, I probably bought it with birthday money.
“Son of Schmilsson” fell right into a 15-year-old’s wheelhouse. I was a sophomore-to-be, and this record was sophomoric if nothing else. It’s full of irreverent and rude humor, lapsing into vaguely bad taste well before that notorious belch between songs on Side 2. Oh, yeah, I know this record from front to back, too. We had a lot of fun listening to “Son of Schmilsson” back then.
Listening to it now, though, and knowing how Harry Nilsson’s life unfolded — and of course, unraveled — it’s a little sad.
The proceeds from this tribute record, which was released after Nilsson’s death in 1994, went to The Coalition to Stop Gun Violence. Nilsson became passionate about the cause after the shooting death of his friend John Lennon in 1980.
Our son’s news arrived via Facebook earlier this week, among some items billed as “exciting things to announce …”
“I auditioned for and was invited to take the next step in joining the fine folks at ComedyCity.”
That was pretty exciting, especially for his old Pops, the comedy nerd.
I’ve been a student of comedy ever since staying up late and watching Johnny Carson’s monologues with my dad in the late ’60s and early ’70s. My irreverent yet dry sense of humor was shaped by Carson, Carlin, Pryor and Python, with generous servings of Mad and National Lampoon. Long ago, my friend Hose once wondered whether I’d ever considered doing standup. Ah, no.
The only problem for me, the comedy nerd, was that I’d already read much of it in Kliph’s wonderful interviews with old-time comedians on his blog, Classic Television Showbiz.
Anyhow, now there is another student of comedy in the family.
Evan, now 21, is working with our local improv comedy troupe. Several of his friends are already among its performers. Not sure when Evan will take the stage with them, but when he does, we’ll be there.
However, his old Pops, the comedy nerd, will have to keep his head full of comedy knowledge to himself. Evan will learn improv comedy the way ComedyCity wants him to learn it, which is the way it must be.
But should he ask, his old Pops will dive deep, past Carson and Carlin, past Pryor and Python.
You’ve never heard of Victor Buono, his old Pops will say, but you should hear him. He used to wedge himself into the chair next to Carson, wield an elegant cadence and slay him with comic poetry like this …
The first major overstep apparently was Ronald Reagan’s use of “Born in the U.S.A.” in 1984, to which Bruce Springsteen objected.
Donald Trump has offended the Rolling Stones and Queen and Neil Young and R.E.M. and Paul Rodgers and Earth, Wind & Fire.
Other repeat offenders: John McCain offended Van Halen, John Cougar Mellencamp, Heart, Jackson Browne, Bon Jovi, Foo Fighters, Tom Petty and ABBA. George W. Bush offended Mellencamp, Petty and the band Orleans.
The members of Survivor pounce when someone uses “Eye of the Tiger” without permission. They’ve sued, or threatened to sue, Mike Huckabee and Newt Gingrich and Kim Davis and Mitt Romney, among others, for doing so.
Special mention to two Wisconsin politicians. Paul Ryan offended Rage Against the Machine, saying he was a fan. Now that is quite an odd couple. Scott Walker offended the Dropkick Murphys. Join the club, fellas.
“Your Flag Decal Won’t Get You Into Heaven Anymore,” John Prine, from “John Prine,” 1971.
Man, seeing this, I still can’t believe Alice Cooper wasn’t elected in 1972.
Which reminds me. My friend Timebomb Tom said “this Warren Zevon album cover makes me want to re-visit the Zevon-faked-his-own-death-and-really-is-Bernie-Sanders theory.”
Wish Zevon was still here to help us sort through the lawyers, guns and money.
Finally, our strongest endorsement …
My friend Larry Grogan dropped “Testify,” a powerful take on the issues of the day, over at his mighty Funky 16 Corners blog last week. Read his post. Listen to the mix. Register to vote. Larry says:
Brothers and Sisters … the time has come …
There’s a little more than three months until Americans head to the polls and make the decision that will determine how (or whether) this country moves forward.
This mix gathers together black artists from the worlds of soul, funk, gospel and rock, with songs that were created in response to oppression and racism (here in the U.S., Jamaica, the UK and Apartheid-era South Africa), crying out for an end to both and many of them asking not for separation, but for recognition, unity and progress.
Yet that train keeps bearing down on us, taking Scotty Moore, Mack Rice, Bernie Worrell, Ralph Stanley, Wayne Jackson and Chips Moman this month alone. Since we last gathered here, Guy Clark, Candye Kane, Billy Paul, Lonnie Mack and Prince also have left the building.
In a year in which we have lost so many music legends, it seems wise to not stop at four. It also seems wise to not wait too long.
So here are four more music greats who are still with us, all of them still going strong. This is by no means the B team, or the second tier, or anything like that. Just four more worth appreciating here and now.
Mavis Staples, 76. The beloved gospel/soul/R&B singer released a wonderful new record, “Livin’ On A High Note,” in February. That same month, “Mavis,” a documentary profile, premiered on HBO. She’s playing gigs across North America through November, then will receive Kennedy Center Honors in December.
“Revolution,” Mavis Staples, from “Hot Wacks,” 2013, a compilation of artists on the Anti- label. A distinctive cover of the Beatles song from one who’s long sung about revolution.
Tom Jones, 76. Sir Tom is performing gigs across Europe this summer in support of “Long Lost Suitcase,” a roots record released last October as the final part of a trilogy that also includes “Praise & Blame” and “Spirit In The Room,” which came out in 2010 and 2012, respectively. “Long Lost Suitcase” also is the companion piece to his memoirs, “Over The Top And Back.” It’s been a tough year, though. His wife of 59 years, Linda, died in April.
“Dance of Love,” Tom Jones, from “This is Tom Jones,” 1969. It’s a tune written and done first by Charlie Rich in 1965 on the Smash label.
Dennis Coffey, 75. This Funk Brother is still playing some mean rock and jazz guitar “in the D.” He tweets out his shows at @DennisCoffeyDET, announcing on relatively short notice that he’ll be at the Northern Lights Lounge — his most frequent Detroit gig — or at Motor City Wine, or at the Dirty Dog Jazz Cafe. His blog is recommended reading. Coffey shares lots of good stories there. Likewise his discography for record collectors. His last record, the solid, self-titled “Dennis Coffey,” came out on Strut Records in 2011. It’s worth checking out.
“Never Can Say Goodbye,” Dennis Coffey, from “Goin’ For Myself,” 1972. A cover of the Jackson 5 tune on which Coffey demonstrates a little bit of soul, a little bit of funk and a bit more jazz.
Gladys Knight, 72. Another of the great ladies of soul, she’s playing gigs in Europe and the United States through October. A solo act for almost 30 years now, she hasn’t had the late-career success of her peers. Widely known today for lush ballads and inspirational songs, Gladys Knight belongs here because of her energetic performances with the Pips in the late ’60s and earliest ’70s on Motown’s Soul label. She really did get down to the real nitty gritty, kids.
“(I Know) I’m Losing You,” Gladys Knight and the Pips, from “Nitty Gritty,” 1969. When I heard this cut on Sirius XM not too long ago, I was reminded that this is one of my favorite LPs. And, yeah, that’s Dennis Coffey playing guitar on the “Nitty Gritty” single and his wah-wah, fuzz-toned lick about 11 seconds into the intro of “Friendship Train.”
Our premise, revisited: Since we last gathered here a month ago, we’ve lost even more music greats. Keith Emerson, Sir George Martin and Gayle McCormick, the lead singer of Smith, even Clare MacIntyre-Ross, the woman who inspired the Harry Chapin’s classic song “Taxi.”
Time, then — well past time, really — to appreciate four music greats who are still with us. These are my four. Yours may be different. We started with the eldest, Chuck Berry. We then paid homage to Little Richard. We continue with …
The legend: Jerry Lee Lewis.
Still performing? Apparently so. There are no dates listed on his website, but his last gig was about six weeks ago in Mississippi. I’ve never seen him play live.
What we must acknowledge but won’t dwell on: The Killer has gone through a whole lot of unsavory business. A scandalous marriage to a cousin who likely was 13 when they were wed in December 1957. Six other wives. Allegations of domestic abuse. Substance abuse. Arrested outside Graceland in November 1976, drunk and waving a gun. Jeebus.
Where I came in: Hm. Not really sure about this, either. Perhaps when he covered “Chantilly Lace” in 1972, or perhaps when “Drinkin’ Wine Spo-Dee-O-Dee” crossed over from country radio in 1973. It wasn’t until 1989 that I bought my first Jerry Lee record, the “Milestones” greatest-hits comp released on Rhino Records to coincide with the release of “Great Balls of Fire,” the film in which Dennis Quaid played Jerry Lee.
Appreciate the greatness: I have always loved piano pounders, and Jerry Lee stands with Little Richard as perhaps the greatest of them all. Jerry Lee’s late ’50s hit singles are among the cornerstones of rock ‘n’ roll. That said, here are some other tunes I dig.
“Live from the Birmingham Municipal Auditorium and the WVOK Shower of Stars, the one, the only, Jerry Lee Lewis!”
They recorded this on July 18, 1964, a Saturday night. (The liner notes incorrectly say July 1.) To hear this astonishing side, Jerry Lee clearly brought the greatest live show on Earth to town that night. In a mere 15 minutes, the Killer rips through covers of tunes by Little Richard, Charlie Rich, Chuck Berry, Elvis Presley and Ray Charles.
“Well, I’d like to do one for ya now. Ah, hope you enjoy this one. Um, pretty good tune that, uh, has done quite well for a, a lot of artists. But I’m think I’m gonna give it a little treatment here that, that it deserrrrves. I’m gonna throw the old, real, true, down-to-earth, go-gettin’ rock-and-roll beat into this one now. Boy, if you can’t shake it, you better set down because this is one you can really shake it bahyyyy!”
At which point, Jerry Lee and his Memphis Beats tear into …
“Roll Over Beethoven,” Jerry Lee Lewis, from “Jerry Lee Lewis: By Request,” 1966. It’s out of print. Recorded live at Panther Hall ballroom in Fort Worth, Texas.
“Shotgun Man,” Jerry Lee Lewis, from “Soul My Way,” 1967. It’s out of print, but is available on this double CD with “The Return of Rock” LP from 1965.
After turning to country music with some success, Jerry Lee returned to rock with mixed success on some interesting records on the Mercury label in the early ’70s. Here are a couple more rip-roaring covers.
What we must acknowledge but won’t dwell on: Chuck Berry is not necessarily a nice man, from his troubles with the law and the tax man to his reluctance to give longtime co-writer and side man Johnnie Johnson his due.
Where I came in: I’m part of the generation introduced to Chuck Berry by the naughty novelty single “My Ding-A-Ling” in 1972. Then I bought “Chuck Berry’s Golden Decade,” the two-record greatest-hits compilation reissued by Chess in the wake of the success of “My Ding-A-Ling.” Long one of the greatest records in my collection.
My evening with Chuck Berry: Seven years ago, I saw Chuck Berry — then 82 — play our local casino ballroom. After that show, you wondered whether he’d played for roughly an hour, or played roughly for an hour. Which was OK. With Chuck Berry, you never can tell.
Appreciate the greatness:
“Roll Over Beethoven,” 1956. Electric Light Orchestra’s long, raucous cover of this is one of my all-time favorites.
This scene from “Major League,” filmed at our beloved Milwaukee County Stadium more than 25 years ago, pretty much sums up what kind of a season it was for the Milwaukee Brewers.
This first Sunday afternoon of October was spent at work, handling our live Green Bay Packers coverage as usual. I watched the Brewers’ last game of the season for only a couple of minutes and didn’t listen on the radio.
Appropriately enough, Brewers radio broadcasts once ended with a cover of the Beatles’ “The End.” That I knew. But until earlier this year, I didn’t know who did that cover.
It’s by jazz keyboardist Gap Mangione, from his 1972 LP, “Sing Along Junk,” which appears to be long out of print. That’s a young Steve Gadd on the drums. His first professional gigs were with the Mangione brothers, Chuck and Gap, in the late ’60s.
On the old Brewers broadcasts, they’d let this run for about the first 30 seconds. Then they’d talk over it and read all the sponsors’ names. Then they’d return to the music for the last 10 or 15 seconds, the true outro.
They don’t play “The End” at the end of Brewers broadcasts anymore.
But all I need do is listen to those last 10 or 15 seconds, and I know another baseball season is over in Wisconsin.