title song from Cliff's 1972 movie makes a teriffic starter for my morning jaunt, and sustains me through 35 push-ups.
Siegel-Schwall was one of the many electric blues bands formed in the late 1960s. There's no video of "Leavin'", but here's Corky Siegel doing solo harp and vocal at the Ladder House, Sturgeon Bay, Wisconsin, on February 20, 2009.
Tom Rush is one of my favorites of the generation of folkies that came to prominence in the middle 1960s. On one of his early albums he does an excellent cover of Blind Willie McTell's "Statesboro Blues". There's no video of Rush doing this song, but there is of him singing his own "No Regrets".
At the break of day,Bessie Smith is regarded perhaps second only to Robert Johnson as an influence on the development of the blues as a musical style. There's no video of "Gimme a Pigfoot," but here she is doing "Nobody Knows You When You're Down and Out."
You can hear old Hannah say,
Gimme a pigfoot, and a bottle of beer...
Scott Joplin rag. Here's a piano roll version of the same tune.
Scarlatti's Sonata in E (K20). Here's the Gershwin with full orchestra and piano (NHK Symphony, Marek Janowski conducting; Peter Jablonski, piano).
mid-'60s Philly R&B. I first heard this song when I was with the Robinson High debate team at a tournament at Florida State University in Tallahassee. Some of my teammates and I were having burgers and milkshakes at the student union cafe, which had a jukebox and dance floor, when the song came on. A couple who looked like they stepped out of a Norman Rockwell illustration of typical American youth--he with a perfectly coiffed ducktail and pegged khakis, she with a tartan skirt and saddle Oxfords with bobby sox--took the floor and danced very energetically, twirling vigorously, and he once lifting her by the waist and swinging her overhead. This song is notable for its perhaps earliest uses of "hippie" and "hip hop" in american pop culture parlance.
Yes, an important art work was thrown burning to the ground,From '60s Philly R&B we go to 1979 Texas tongue-in-cheek country. Hear it here. Apologies to Kei Andersen, Mark Crawford, Mike Sorgatz, and any other artist friends who may be offended by this.
Tragically landing in the weeds,
And the smoke could be seen for miles around,
But nobody knows what it means.
Kiln House, one of my favorite albums despite its less than enthusiastic critical reception. One Rolling Stone writer characterized it as "Buddy Holly obsessed"; in my opinion, to paraphrase Yellowman, Buddy Holly is a nice obsession.