Song of the Week: George Jones -- Revenooer Man. RIP

The news just hit that George Jones died today. He was 81 years old. Here is an article we posted on the man and his music back in January of 2010. 

George Jones always scared me. Back in the '70s he was a dead ringer for cult leader, the Reverend Jim Jones. Dark glasses, overly sculpted hair, and an intoxicated swagger. Not cool. And his songs stank too (at least that was my opinion). Sometime when I was about 17, I ran across a Mercury Records release called George Jones: Rockin' The Country. For some unknown reason I picked it up and held it in my little hands and flipped it over a time or two. George Jones sure looked different here. He didn't have much hair, just a real geeky flat top. And he didn't have on those dark lens "mood maker transition" Foster Grant glasses that made him look like that creepy guy who hangs around the playground after school. For the low-low price of $3.00, I was able to carry it out of Barney's Records in Davis California and back to my not-so-swingin' pad.

It's a damn good record filled with upbeat rockabilly numbers and stellar production. It includes Jones' first (of many to come) #1 Country and Western hit, White Lightning (see video below). The standout on that record, however, is the fast paced Revenooer Man, our SOTW. I'm not sure of the history of the recording, but by the sound of it, I assume it was recorded in Bradley's Barn outside of Nashville, Tennessee. Moreover, I assume that my favorite Nashville session man, Grady Martin is on the baritone guitar here. Flip-side devotees may recall that we sang Martin's praises on his uncredited role on The Johnny Burnette Trio's mind blowing Train Kept-a Rollin' and on Johnny Horton's Honky Tonk Hardwood Floor.

On Revenooer Man, Jones and the session men, run through the tale of a G-man hot on the trail of moonshiners fleeing at a break neck speed. The tempo and the acoustic guitar intro are reminiscent of some of those early Everly Brothers songs, some of which were also recorded at Bradley's Barn. The baritone guitar harkens to early work of Johnny Horton. Jones' vocal style, like those of early Conway Twitty, clearly reveal his and the producers knowledge of the dominating presence of people like Elvis Presley, Buddy Holly and Jerry Lee Lewis who were taking away the younger audiences from the country stars.

In all my years of hitting clubs, I have never, ever heard anyone cover this song. White Lightning? A million times. Revenooer Man? Not once. What's up with that? Sit back and enjoy this scratchy recording of George Jones performing Revenooer Man.

See you on the Flip-Side.

RIP Scott Miller of Game Theory

Word just reached us that Scott Miller, the leader of Game Theory passed away yesterday. Scott was a music leader in the town of Davis, California, the town in which I grew up. He was a frequent visitor to the record store at which I worked, Barney's Records. Safe travels. We'll see you on the Flip-Side, Scott.

Song of the Week: "Six Little Puppies and Twelve Shaggy Hounds", John Lee Hooker

Listen - John Lee Hooker performs Six Little Puppies And Twelve Shaggy Dogs.

Everybody loves John Lee Hooker. The dude had style for days.

I had the chance to see him live on three separate occasions and I can tell you the first performance of his I saw had a huge influence on this impressionable 15 year old flipper. Hooker was around '66 years of age on my virgin foray into the deep, dark growling blues in a live setting. I knew the manager of the venue, The Palms in Davis California, and was escorted back stage after the show. There I saw Hooker seated in the middle of the room on a rusty fold out chair sipping from a beer can. People filtered in with my group and one woman snapped a photo. Hooker snapped back: "You didn't ask to take my picture and I didn't say you could." The shutterbug pushed the camera back into her purse and retreated back into the the plank wood walls that gave away the venue's original purpose as a barn. The person who had escorted me and my older friends back to the room signaled to us to be quiet around the surly figure seated with legs wide apart in the middle of the room. The bassist for the band looked my friend over and said something along the line of "it's time to finish our business", and with that an envelope was passed. Most all the gawkers had left the room and Hooker looked up like a bulldog at the bassist who opened the envelope, looked in and gave Hooker an affirmative nod of the head. Hooker said something about getting a beer in this town and my friend suggested the only bar likely to still be open, The Paragon. Directions began to be given to the bassist and Hooker barked out again, "damn, we're never going to find it like that."

Suddenly I find myself and my friend climbing into the fourth row of Hooker's white Ford Econoline Van and heading off to the bar across the street from the record store at which I worked, Barney's Records. I followed the whole gang into the bar. I was way underage. Hooker and three of his bandmates took a table in the empty bar. Others in his band sat at the next table. My friends and I sat across the aisle in the narrow bar and I stared at John Lee Hooker with awe and fear as he drank from a bottle of Miller High Life.

Hooker had been on the road for about 52 years at this point. He had played many barns, music halls from Germany to California and Juke Joints along Highway 61. He had played festivals and he had played more than one house party. Today's song of the week is from one of those nights. It was recorded in 1949 in a house in Detroit, Michigan. The song is the sublimely titled Six Little Puppies and Twelve Shaggy Dogs. It takes a little bit of time to get going -- like Hooker himself -- but once he gets going it's a song with a great minor chord groove that is as hypnotic as the man himself.

I never did say a single word to Hooker. He never even acknowledged my presence. It was still damn cool.