Category: music

Thoughts on the Big Mo Pod Show 034: Laughing in the Face of Death

I heard the Big Mo Blues Show just (Halloween theme) this last Friday night and was not surprised to see that one of the songs discussed on the Big Mo Pod Show on Saturday was Peetie Wheatstraw’s “Devil’s Son-in-Law.”

When I first heard it, it got me chuckling because I didn’t understand hardly a single word until the last line. It was babbling. I can remember googling the term “Peetie Wheatstraw and unintelligible,” which revealed I’m not the only one who thinks he’s unintelligible. It’s a mondegreen mine field. It’s a good thing the lyrics are available.

I want to hastily point out that he’s not always unintelligible—but William Bunch aka Peetie Wheatstraw is speaking in tongues on that song. For comparison I listened to another song, “Sweet Home Blues” and I could understand just about every word in the lyrics.

That led me down the rabbit hole about the artist in a web search that seemed to have no end. I should probably say Brer Rabbit hole since most of my searches pointed in the direction of a character called Peter Wheatstraw, Petey Wheatstraw, as well as Peetie Wheatstraw who had variations in their identities, most often in the context of African American folklore.

I’m not going to attempt a summary of my web search on Peetie Wheatstraw; there’s too many twists and turns. You can start with the Wikipedia article. But from there, you can get trapped in Brer Rabbit’s little tunnels, which can run in different directions.

William Bunch was a blues artist in the 1930s who adopted the moniker “Peetie Wheatstraw.” While Big Mo says it’s sort of another name for Satan, I found confusing references by writers who claim that the Peter Wheatstraw character comes from Black folklore. There are those who believe that novelist Ralph Ellison wrote about a character in his book “Invisible Man” named Peter Wheatstraw and said it was the only character in the novel that was based on a live person—William Bunch.

Is that true? And did Ellison ever meet Peetie Wheatstraw (William Bunch)? I can’t tell from the web articles.

I was prompted to get my copy of “Invisible Man” out after reading a scholarly online essay mentioning the Peter Wheatstraw character, “Re-visioning Ralph Ellison’s Invisible Man for a Class of Urban Immigrant Youth” by Camille Goodison, CUNY New York City College of Technology. I couldn’t remember Wheatstraw at first, but there he was in Chapter 9.

Goodison reveals there is a lot more texture to the Wheatstraw character then just as a moniker adopted by William Bunch. Wheatstraw is probably more complex than the devil. He has many sides to him and could be helpful—but mostly in an indirect way. His guidance is full of riddles and there doesn’t seem to be a solid way to cut through the metaphorical morass. As Emily Dickinson advised, Wheatstraw may tell the truth—but tells it slant.

I still don’t know why he mumbles the song.

University of Iowa Psychiatrists Publish Huntington Disease Study Results

I ran across a fascinating story about a study on Huntington’s disease published by members of the University of Iowa Health Care. The study examined how the Huntington’s disease gene might enhance brain development and function early in life prior to the onset of the devastating disease. It was published in The Annals of Neurology:

I also found an abstract for a paper about Woody Guthrie, a famous American musician and activist who was very creative in his early life, but sadly succumbed to the ravages of Huntington’s disease when he was 55 years old. I couldn’t access the full article without paying for it but the abstract was intriguing because I wondered whether the author suspected something similar to the premise of the study:

Ringman JM. The Huntington disease of woody guthrie: another man done gone. Cogn Behav Neurol. 2007 Dec;20(4):238-43. doi: 10.1097/WNN.0b013e31815cfee4. PMID: 18091075. Abstract: Woody Guthrie was an American songwriter, musician, writer, and political activist who died with Huntington disease (HD) in 1967 at age 55. His relatively brief creative life was incredibly productive with countless songs and a tremendous volume of letters to his name. His personal life was similarly driven with Woody having had 3 wives and at least 9 children and an insatiable appetite for traveling the United States. In this essay, I explore Guthrie’s art in relation to the development of the overt behavioral changes and chorea that characterized his illness. Woody’s most productive time artistically was in the 5 years immediately preceding the onset of overt symptoms of HD. I hypothesize that subclinical HD may have been an important driving force behind Woody Guthrie’s creativity.

If anybody knows, please comment.

Woody Guthrie was certainly an important figure in the American history of activism as well as music.

Usually, I would share the music of some of the artists I mention on this blog. On the other hand, one of the co-authors of the University of Iowa paper mentioned above is Doug Langbehn, my former colleague, who’s an accomplished musician and statistician. So instead, I thought I’d share the talent of Doug and his band.

Thoughts on The Big Mo Podcast 033: “A Balance of Old and New”

This is just a short piece on the Big Mo Podcast last Friday night and his comments about one of the songs he played that night. It made the list of 5 songs he and Producer Noah discussed a couple days later.

Big Mo’s had great comments about all the songs, but I took special notice of those about one of them. It was James Carr’s big hit in 1966, “Dark End of the Street.”

The most important thing about it is that I remember listening to it when I was just a kid. I was too young to understand the meaning of it. But his voice grabbed me. That’s really the only thing I can say about it. His performance still has the power to raise the hair on the back of my neck, even though I can’t identify with the lyrics or connect the theme to any life experience I’ve had. I suspect many people feel the same way.

The other reason I connect with the song other than Carr’s voice is his life story. He was said to have suffered from a psychiatric illness, the nature of which seems like it was never clearly identified. I’ve read a few web articles and terms like “bipolar disorder,” “depression,” and other similar references come up. His psychiatric diagnosis is the least important thing.

Carr’s life story is hard to read, despite what little there is of it to read about. It’s painful. The version on the Black Past website encapsulates what you find in several other articles: Tulino, D. (2018, February 21). James E. Carr (1942-2001). BlackPast.org. https://www.blackpast.org/african-american-history/carr-james-e-1942-2001/.

But to get the real point about James Carr, all you have to do is listen to that one song, “Dark End of the Street.”

Because I Wanted a Hurts Donut…

I got an urge for a Hurts Donut so I walked on the Clear Creek Trail to Coralville get to the little hole in the wall shop. You can easily walk to several places in Coralville on the trail. Actually, I wanted to also check out the Coralville Public Library and see S.T. Morrison Park. I’ve never been to that park so it was a novelty all by itself.

It took about 45 minutes to walk to that part of town. It’s great exercise and beats the traffic. You have to walk under some railroad tracks and there’s a sign warning you not to stand in the culvert below while the train is passing over the top. I can see why.

There are funny signs in the rustic Hurts Donut shop. You can see the corny “Wanna hurts donut?” jokes on the walls. There’s another sign saying “School is important but donuts are importanter,” which reminds me of my coffee mug which says sort of the same thing about cribbage: “Education is important but cribbage is importanter.”

The Old-Fashioned donuts there are so good, but so bad for you. I had two.

The Coralville Public Library has a beautiful skylight. I haven’t been in a public library for ages and so it was fascinating to see that libraries haven’t changed much.

In fact, after I found one of Dave Barry’s books, “Dave Barry Book of Bad Songs,” (published in 1997; I had a copy but it got lost in a move) I asked one of the librarians about the old rule I learned as a kid. You might remember it too if you’re old enough. When you pick a book off the shelf and go to a reading room to look it over—can you just put it back on the shelf where you found it or do you have to give it the librarian who will reshelve it?

If you guessed that you have to give it to a librarian, you’re right and you’ve probably dated yourself. The librarian joked that some things never change. Sometimes that’s a good thing.

Among the things that never change are the difficult to understand lyrics in some songs. Dave Barry wrote a whole chapter about it in the Book of Bad Songs, “Songs People Get Wrong.” He mentions one of them, which I always got wrong but never told anyone about it because it was embarrassing. It’s a lyric in the song “Blinded by the Light” that Barry said was done by Bruce Springsteen, but which I didn’t hear until Manfred Mann’s Earth Band covered it.

So, here’s my deal with that lyric. I always heard “wrapped up like a douche” instead of “revved up like a deuce.” Barry notes that many people made the same mistake. Funny thing, Barry never mentions what that common mistake is called and it’s a mondegreen (a misunderstood or misinterpreted word or phrase resulting from mishearing the lyrics of a song). Music is important but mondegreens are importanter.

I finally saw Morrison Park and it’s a very restful place. You can contemplate the sculpture which is placed in the center of a pond. Ducks paddle around it. It’s called “Silver Lilly” and it was made by Professor Hu Hung-shu. Art is important.

Thoughts on the Big Mo Pod Show “Funkin’ Down the Highway”

This is a post about the Big Mo Pod Show we heard last night on the KCCK FM radio dial 106.9. Incidentally, the KCCK fund drive was enormously successful this year, earning $100,000 in donations, according to Big Mo (aka John Heim) himself.

One item is the cover by Buddy Miles of the song “Tobacco Road.” This rendition was different from performances by other artists. Big Mo liked it and so did I. I did a little web search on it because I couldn’t catch all the lyrics. It was originally done by John D. Loudermilk in 1960. Miles’ version is essentially the same.

What interested me even more about “Tobacco Road” are the associations I have about it with specific literary works. I’ll admit I’ve never read nor seen the film adaptations of Erskine Caldwell’s books, “Tobacco Road” and “God’s Little Acre.” But one of my favorite short stories by James Thurber is “Bateman Comes Home,” which was published in a collection entitled “The Thurber Carnival,” in a hardcover edition in 1945. You’ve got to read it to get a sense of how comical the parody is of the regional dialect used in Caldwell’s novels. In fact, Thurber himself gives the game away about his intent in writing “Bateman Comes Home” by adding a wry comment as a subtitle:

Written after reading several recent novels about the deep south and confusing them a little—as the novelists themselves do—with “Tobacco Road” and “God’s Little Acre.”

He also adds another comment at the end of the short story: “If you keep on long enough it turns into a novel.”

The other thing I noticed about the podcast last night is that one of the songs which was not included in the list, “Joliet Bound,” was performed by an artist I haven’t heard of, the Reverend Shawn Amos, who is no relation to me, of course. But my background as a psychiatrist made me take special notice of details about his family, one of which is that his mother, Shirl-ee Ellis, a singer herself, had been diagnosed with schizoaffective disorder. Sadly, she eventually died by suicide. Shawn Amos is also the youngest son of the Famous Amos chocolate chip cookie founder, Wally Amos (again, no relation), although I’ve gotten a lot of friendly ribbing about that.

The song “Joliet Bound” is about a guy who expresses that he’s wrongly accused of killing a man over a woman and is on his way to Joliet prison in Joliet, Illinois. The Joliet Prison is a tourist destination nowadays and has other distinctions attached to it. It was featured in the 1980 film, the Blues Brothers. There were some famous inmates there, among them John Wayne Gacy, who was once evaluated and diagnosed with antisocial personality disorder by psychiatrists at The University of Iowa in 1968 as described in Dr. Donald Black’s book, “Bad Boys, Bad Men: Confronting Antisocial Personality Disorder (Sociopathy).”

Congratulations KCCK Radio!

Notes on the Blues and Rivers of Whiskey

I listened to the Big Mo Blues Show last night on KCCK radio (88.3 on your dial) as I usually do on Friday nights. It runs from 6:00 pm to 9:00 pm and you can learn a lot from Big Mo (aka John Heim) about the blues.

He also has a podcast called the Big Mo Pod Show, which is based on his blues show. He gets quizzed about some of the songs he played on Friday night by Producer Noah (as Big Mo calls him). Last night he was on target for all 5 of the songs he played and why he played them.

One of the songs I’ve never heard before but it was done by Taj Mahal and Keb Mo, artists I’m familiar with just from listening to Big Mo’s show. The title was “Diving Duck Blues. The chorus goes “If the river was whiskey and I was a diving duck, I’d dive to the bottom and I’d never come up.”

That led to a discussion of how alcoholism was sometimes (maybe more than sometimes) a part of the life of blues musicians. In fact, the lead off song last night was “Big Road Blues,” sung by Tommy Johnson. His last name just happens to be the same as Robert Johnson who made the song “Crossroads” famous because he claimed he sold his soul to the devil in order to become a great blues musician. Several blues artists made the claim, which Big Mo debunked as a ruse to get fans to pay more money to hear them perform.

But Tommy Johnson struggled with alcoholism and, according to Big Mo, was driven to the point of drinking Sterno, which was poisonous because it contained methyl alcohol.

This can lead you to think that maybe all blues music is gritty, played by alcoholics, and even depressing as declared by the lead character, Navin Johnson, played by Steve Martin in the movie “The Jerk” (a white guy raised by a black family).

Incidentally, this reminds me that a recent study showing that digital cognitive behavioral therapy is effective for those suffering from alcohol use disorder.

Anyway, blues musicians don’t always play sad, gritty music and die from drinking Sterno. One that is actually funny is “You Left the Water Running” by Otis Redding. You can look up the lyrics or listen to anyone who covers the song and it would be difficult not to laugh out loud.

And speaking of covering a song, Bill Withers originally wrote and sang “Lean on Me” back in 1972 which Keb Mo covered recently. I think it’s one of those uplifting examples of blues music which won’t send you diving to the bottom of any whiskey rivers.

Hit Them Back with Love

I didn’t get to listen to the Friday blues with Big Mo last Friday because my little Sony Dream Machine radio audio kept cutting out.

But on the Friday blues of August 9, 2024, I heard a tune I liked. It was “Hit ‘Em Back” by Kenny Wayne Shepherd and Shemekia Copeland.

Some blues songs can be gritty and dark, but the title “Hit ‘Em Back” isn’t what it makes you think. The song is really about turning the other cheek, emphasizing the growing importance of getting along with each other.

Getting along with each other is hard to do. I know to most old people (including me) that used to be a lot easier. Old people say that, like saying “What happened to the good old days?”

Well, when I reflect on the past just from my perspective, I have trouble remembering the so-called good old days. In general, we all struggle to get along with each other.

I think the song “Hit ‘Em Back” is a novel way of expressing how relationships between people and nations usually go, but also suggest we “hit” them with love. We mostly hit each other back-in a bad way. The lyrics send an apparently paradoxical message which gets your attention.

And then you get it. Let’s not hit each other. Let’s listen to each other instead.

Big Mo Pod Show Theme “Limitation Brings Innovation”

Last Friday night, the Big Mo Blues Show was recorded. I found the podcast, which had the theme “Limitation Brings Innovation.” The idea behind that was that sometimes when musicians lack the resources to, say, put together a big band sound, they often innovate to create a sound that’s new and surprisingly fresh and rivals the production of bigger and better funded orchestras.

Along those lines, Big Mo played Seasick Steve’s song “Backbone Slip.” It’s a rocker. On the other hand, my favorite from him is “You Can’t Teach an Old Dog New Tricks.” Seasick Steve did a live version of it about 13 years ago. He played a homemade guitar made of a broomstick and a couple of hub caps.

I guess you call that limitation leading to innovation. It could be the anthem for old retired guys.

Big Mo Pod Show “King of the Segway”

Hey, I managed to catch the Big Mo Blues Show on July 19, 2024 and then listened to the podcast the next day. Because our big Bose wave radio is packed away in storage as we wait for our house to be built, I had to use our little portable Sony Dream Machine in the hotel. I think it dates to the early 2010s. I couldn’t get the local Iowa City KCCK 106.9 or 88.3 station unless I switched the radio to AM first, then tuned to 106.9, then flipped back to FM. It gets staticky if you hover over it or touch the radio, but if you leave it alone, it sounds OK.

Now I’m just going to comment on the theme of the pod show, which was “King of the Segway.” This is in the spirit of my frustrated grade school English teacher, Miss Piggott. One of her comments on my report card was, “A little too exuberant.”

OK, that segues into my correction of the use of the word “segway” in the podcast theme title. If you listen to the show, Big Mo clearly uses the word as a verb that mean to move without stopping from one theme, song, etc to another. That should be spelled “segue.” The word “segway” is a trademarked name for an electric transportation vehicle. To be fair, the two are often confused.

Big Mo did a pretty good job of getting most of the points on the 5 songs; at least he could name all the artists. The first part of the ‘da Friday Blues show played a couple of numbers that show the funny edge of Blues music. The latter part played Blues numbers that are on the gritty side.

I’ll take the funny side over the gritty side of the Blues any day of the week.

The funniest number was the song “Lustful Earl and the Married Woman,” by Tony Joe White. I remember his tune “Poke Salad Annie” from way back. Lustful Earl is hilarious and had me laughing out loud.

Big Mo Pod Show- “Goodness is a Practice”

I’m out of sync with the Big Mo Blues Show and his podcast, mostly because we’re in the middle of this big move and we’re staying in a hotel waiting for this house to be built. I missed his most recent show, but caught the one before that.

The podcast title was “Goodness is a Practice.” Big Mo mentioned that moving (among a lot of other sorrows and hardships) could cause the blues-and he’s right.

But some perspective on it shows that a lot of other troubles take priority over moving (even though boxes are bad, admit it). Troubles that call for a little human decency are just one variety. Practicing goodness would come in handy right about now, in a lot of places.