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Book 4. Scott Fagan and The MAAC Island Band…
We are doing a Big “Island Blowout Luau” Benefit on City Island on Sunday Aug 22nd to save the “Pride Of The Susquehanna” a wonderful little river boat here in Pennsylvania.
I thought you might enjoy seeing our band “one sheet”, new band photo and our National Dance Day “Shake a Bum” Video.Here ’tis!
SCOTT FAGAN and The MAAC ISLAND BAND have been tearing it up at the Middletown Area Arts Collective since Scott returned from St. Thomas at the beginning of May.
Scott Fagan (Singer) has been an international recording artist since he left high school in St. Thomas Virgin Islands to sign with Columbia Records in 1964. He presently divides his time between The MAAC collective in Middletown and his home in St. Thomas, Virgin Islands.
Some reviews…
- Cashbox Magazine:
Spinal Tap melodies…His range is phenomenal - Billboard:
“A Poet” - William Krasilovsky, Author, THIS BUSINESS OF MUSIC, l & ll:
“Scott Fagan is a genius. I’ll certify that.”
The MAAC ISLAND BAND is:
Rafael “El Jefe” Martinez, (El Congero) Rafael was born in Armaguerros, Puerto Rico, he has been a “Congero” for over twenty Five years and a “Pennsylvaniero”since 1973.
Drew Washington, (Bass) Originally from New Mexico, Drew appeared at the MAAC Gallery in Middletown one winter night for an open jam and immediately became the BASS Man of Choice for the MAAC ISLAND BAND. Drew has played at the highest levels, for over thirty Years.
Tim Griesemer (Drums) is well known through out Pennsylvania (and beyond) for his extraordinary gifts as a drummer. He is master of a wide variety of percussion instruments and has made it his business to “pass it on”
Walter Mills Born in Boston MASS, Walter has been playing the guitar for over thirty years, He has a wonderfully diverse set of musical influences from Hendrix to Pavarotti and everything in between. That makes him a perfect fit for SCOTT FAGAN and The MAAC ISLAND BAND.
Sound Engineering for SCOTT FAGAN the MAAC ISLAND BAND is by digitaldave, 30 Years on the knobs.
CONTACT Tim Griesemer Home 717-944-3023 Cell 717-439-1919 or Scott Fagan 717-592-0853
scott@lilfishrecords.com www.scottfagan.com www.lilfishrecords.com www.thecollectedworksofscottfagan.com
“Here is Shake A Bum” our National Dance Day Video! What fun!
Book 1. The Blessed Virgins and Book 4. Concert in New York Continued…
Book 1. The Blessed Virgins
And so somewhere in the winter of 1958 Mud led her little band (Little Larry Gale and I) away from the land of the ice burger, to the lands of eternal spring and summer, the Blessed Virgins. Of course I wore my recently purchased black leather jacket (just as I would wear it both day and night until I completely and incontestibly physically out grew it over a year and a half later)
When we had left St. Thomas, fleeing {“The Bills” (who ever those guys were) four years earlier Gale and I were very different children. We now carried the depravation and esteem issues of absolute down and out poverty, disrupted education, and serious questions about (the theretofore unquestionable such as) Mud’s competence as leader of the pack, and all that that meant.
Just about the only thing that we never questioned about Mud was her taste in music, it was with out exxception, always great. Mud was never negative about music, any music. She just plain out andf out loved music. And while we never heard her say a negetive or angry word about it, a few years later our father Frankie, would surprise and hurt use by “hating” Rock And Roll and any and everything else that had replaced Big Band and Be Bop.
It was very disturbing to hear that kind of angry agrandiament of one kind of music over all others. It seemed so obvously stupid that, while trying to defend my self and the music, I was embarrased for him. How can anyone expect kids to primarily identify with and love the music which expresses the time and concerns of their parents, rather than the music that expresses the times and concerns of their own generations?
Still, I see that same crazy conceit all around, all the time .It is so disappointing and transparently stupid…still.
That said, Me fadder dear was a hell of a singer and those tunes he sang were certainly very very good ones. Further, his emphasis and constant refrain on singing was “it’s all in the phrasing Fidel, (he lovingly called me “Fidel, The F*ckin bombthrower from the islands,) It’s all in the phraseing” has served me well. Continues…
Book 4. Concert in New York Continued
What a blast we had… the whole raggy band, a confoundation of experiences and ideologies a flim flam flashin dash-agoria of frantic -zigzagomania, a schreehin’ scramble of the lost push pulling the lost in concentric kaleidoscopic circles. And that was before we even got out the door and into our veehickles.
A Carnation, carvention, carfused, caravan of veehickles screwed tightly onto out of state licence plates, plates that I D’d us as hick-prey, thus fair game for the pent of frustrations and ever so inventive vulgarities of anxiety sizzled big city pedestrians. Even so.. we were so excited to see them that we reveled in their exotic and colorful stereotypically accented verbuse, and have recounted every single delicious expression and “cuss” phrase back and forth amongst us over and again. What fun we had. I really do wish you were there. The folks at BWAC (The Brooklyn Waterfront Artists Coalition) put the absolute once and for all kibosh on the fiction that New Yorkers are cold and distant.
These good people could not have been any warmer and more welcoming. And dear goodness, I had kinda sorta somehow forgotten how beautiful and intoxicating New York City Lady Girls have always been to me. Man o man, young and old silver and gold, each more beautiful than the last. What a joy it is to see a city full of ‘im!
We are booked to come back for an opening on Saturday, May the 7th 2011.
We will be there bells a ringing!
Here is a band photo that we took at BWAC just after our performance.
This week we play for the third anniversary of the MAAC (Middletown Area Arts Collective) and next week we will play the benefit to save Harrisburg’s own Riverboat “The Pride Of The Susquehanna”. We are working on doing “The Virgin Islands Songs live in Concert” at the Richold Center For The Arts in St. Thomas, and filming it as a potential music special for PBS. We shall see…
Book 1. En Nueva York 57-58 Continued…And Book 4. In Anticipation Of Nicky’s Memorial, July 18th, Magen’s Bay.
Book 1. En Nueva York 57-58 Continued…
It was the time of “Little Bitty Pretty One, “Wake Up Lil’ Susie”, “You Send Me”, “Honey Comb”, “That’ll Be The Day”, “Rockin’ Robin”, Don Larsen’s perfect game, Sputnik, and The Asiatic Flu. All of which made a big and lasting impression on me.
Years later I would spend two weeks in a tour bus with the Great Bobby Day (“Little Bitty Pretty One” and “Rockin’ Robin”) crisscrossing the US from Burlington Iowa, to Daytona Beach Fla, on a tour called the “Thirtieth Anniversary Of Rock N Roll”. Bobby Day was style and grace, talent and kindness personified. He was every bit as smooth, graceful and exciting as his tunes.
The Everly Brothers big hit “Wake Up Little Susie” was one of, if not the first song in which I was consciously aware of “the writer” inserting a “twist” and intentionally shaping the story line. I had a sort of moment of objective “ah ha” clarity (and believe me it only lasted a moment) before I fell back into full on non-thinking subjective acceptance of the idea that “all the singers were for real, and all their songs were “true for true.”
Years later when my manager Doc Pomus, began teaching me how things really worked i.e. How a song was written, how a session was produced, how a record was made, what a Music Publisher did, how Elvis got co-writing credits on Otis Blackwell’s songs, etc I was quite disappointed and very much upset and disillusioned.
I much preferred the illusion that the process was somehow magically organic, as if the song “emerged” from the singer while the joy and groove of the moment dictated the arrangement and the music played.
I was really disappointed with the truth. I felt as if something wonderful and life sustaining had been taken away. Of course I can now look back and (in knowledgeable company,) snerk aloud at what a silly and foolish boy I was, but the truth is I am still more he that any completely grown up me.
The facts are… When I performed (and still when I perform now) the emotion inherent in the moment DID dictate the arrangement (the timing, the rhythm, the dynamics and sometimes even the key) and as far as possible, the song DID emerge Which is why I seem unable to, hardly ever or maybe never play a tune exactly the same way twice.
In my first gig in the states after “getting off the boat” I was singing at a great folk club/coffee house called “The House Of Pegasus” in Fort Lauderdale.
The manager turned to the owner and said”listen he even does his own fade outs”. I remember wondering “why would he mention that?” and then “aren’t we supposed to do that?” that’s how we all did it in the Islands. We didn’t or I didn’t know that fade outs were artificial artifacts of studio recording rather than an expressive and soulful vocally managed dimuendo. Ahh… my dear friends, you could have filled a google parallel universes with what I didn’t know then, and possibly even more with what I don’t know now.
In any case, and lucky for me, it was a great season for song, Sputnik was the beginning of a painfully long, continuing and essential lesson in humility for “The Otherin” (and me too) and the freakin’ Asiatic Flu did everything but recycle me.
Often the “weakest” or most vulnerable part of the body is the first to go and in my case the weakest link resides in my poor frizzgaggled noggin.
When the fever (any fever) hits or comes upon me, my tenuous grip (on what foolish folk think is the one reality and I recognize as at most a temporary and consensual compromise) slips and I am gone. Replaced by a double babbling babushka balloon head, or “El Exehente Generalissimo Delirioso” aka the rock that wept, or the stone that squeaked and cried. Yezzer, I am vulnerable to fever.
In those days Gale and I had no beds, we slept instead on folding aluminum lounge chairs, the kind with woven plastic straps across an aluminum frame. When the Asiatic landed in my noggin, I was allowed or encouraged (or a combo of both) to move my recliner out of a shared bedroom and into a far corner of the living room, a sort of poor man’s quarantine, I s’ppose.
I spent two weeks out there in the ultra nunca never none land of delerioso serioso, babbling soliloquies all day waiting for Mud to come home from work.
It’s interesting to note that you can pile all the blankets in the world on top of the poor soul trying to sleep on such a device and they don’t and won’t do a bit of good. Until and unless you realize that the cold air is coming up from under, through and between the plastic straps. It’s a pitiful, follyishous thing. I confess that it took me an embarrassingly long and uncomfortable time to figger’ it out.
God Bless Mother, the music in the background and Red Candy Apples (the only thing I would eat) for getting me through.
Interestingly, the Spanish flu epidemic (a related strain of two generations earlier) is what we think killed our people in Scotland, leaving our father Frankie’s Mother Sally, “an orphan girl alone in the world” and encouraging her migration to New York, her career as a tragic bar room singer, the arms of the naughty, cowardly married Irish rascal that knocked her up ah..Ah mean got her with child and then denied the little lad for fear of “The wrath of wife”. Our little orphan girl Grand Mother Sally Travis, Died in turn in the TB wards on Welfare Island at 26, leaving little Frankie all but orphaned himself. Crikey, Yikes! it feels like I’m having a flu-mo delerioso flashboink!
Yes, It was the winter of our discontent, my poor finger was bent forward and taped to the palm of my hand (if that whompin’ girl had seen me, she would have whupped me silly), Gale, in a flurry of belonging longing or longing to belong, joined a cigarette smoking, garrison belted, black leather jacketed gang, she was now known by two separate noms de guerre “Mike” and “The Cat” and in a flushed rush of tough teenage solidarity forever, she shaved her eyebrows absolutely and completely, clean off.
Mud was ready to get herself and her sprung off sprung back to the Antilles, The Archipelago, The West Indies, The Islands of The West, The Caribees, The Spanish Main, The Blessed Virgins…Continues…
Book 4. In Anticipation of Nicky’s Memorial, July 18th, Magen’s Bay.
I nave been invited to sing at Nicky’s (The Mighty Whitey) memorial scheduled for July the 18th at Magens Bay, in St. Thomas. I am arranging to be there and prepared to sing my heart out. I am so happy that Tuts and Tim and Nicky and I recently took a little trip together up to Jos Van Dyke to see the Fox. We were talking with him and Tessa about doing a three man concert there featuring Ruben, Nicky and Myself. That sadly will never be.
Take a look at “A Little Trip To Jos Van Dyke” and “Continued..A Little Trip To Jos Van Dyke” (March 2010) In them, I‘ve tried to capture some of what was wonderful about the time together.
Book 1. In Nueva York Continued 57, 58 And.. Book 4. Gran Faddah Buckra An De Ol Geeal
Book 1. In Nueva York Continued 57, 58
It was just the beginning of one of the more interesting and consequential seasons of all…the fall.
“Island In The Sun” with Harry Belafonte had just came out and Mud, Gale and I took the subway (a long and dreary ride across cold mucky mud brown marshes, that Mud had to traverse twice a day to and from her job) into the City to see it at “The Roxey”. The minute the opening shots of the beautiful green Island in the beautiful blue sea appeared on-screen, I knew it was a deal done, a conclusion forgone, sooner or later, we were heading back to the bongo isles…
Gale and I were both in PS 198 AKA Benjamin Cardozo Junior High School, when Mud announced that she was going to St. Thomas on a “little Vacation”…
Gale, Little Larry and I stayed with Aunt Lea and her family just a few streets over in Far Rockaway while Mud was gone…
In those days I was wearing a little silver heart ring that I had bought for myself in Puerto Rico, from a street vendor for something like a quarter. The little ring said ”Yo Te Amo” (I Love You, in Spanish). I loved it and all it represented. I really did.
One day during lunch recess I was waiting my turn at the handball wall when someone hit the Spaulding over the school yard fence. It was a very tall chain link fence of the type favored by the New York City public school system, a design thought to be tall enough to discourage even the most defiant of kids from climbing over it. Unfortunately I had stuff to prove (being a shrimp with the cohones ah…rather, jive bravado, of Godzilla) and I rather quickly climbed (to a chorus of “Hey kid dontcha kno etc.) up and over the sky-high thing, down the other side and got the ball.
The truth is the world seemed a much more interesting and inviting place on the outside and I ought to have just thrown the pinky ball over my shoulder and strolled away to make a life with Arleta, but no…
Being a good boy, I climbed back up the blasted fence and when I reached the very tip-top, decided to jump all the way down thus ending my demonstration of casual but exemplary rule breaking/fence-climbing with what I thought would be great flourish and style.
Instead when I landed back in the concrete consciousness of PS 198 I discovered that my right ring finger (the one with my Te Amo Heart ring) was now all but ripped off my hand. The ring was gone and my poor finger from the knuckle up, was hanging by a grisly gristle-thread…
My dear friends, I was dumbfounded, shocked and deeply wounded at one and the same time…many an exclamation of confused horror followed me as I headed directly for the Principal’s office where I would turn myself in, confess my sin, beg mercy and petition all in authority for a miracle do-over of the last five minutes. Ah…ah was tragical and upsetting in the extreme.
God bless my dear sister Gale, they summoned her to ride in the ambulance (sirens blaring) with me to St. Joseph’s Hospital, where we were met by poor overtaxed, stressed-out and worried sick, Aunt Lea.
Apparently, while I teetered sky high on the fence, planning my ascendant descent, the open crisscross at the top of the chain link had snuckeled in between my finger and my mighty fine ring and consequently, when I launched, my ring and finger did not. Meaning of course that something had to give. It was first my finger, and then my beautiful ring.
You may think it odd, but I was very saddened at what happened to the little heart ring, I don’t believe I actually saw it again but I imagine it, popped and twisted (much like my poor finger) and abandoned all by it’s self alone.
The Doctor looked at me, looked at my finger and looked at me and said well. “I hope you won’t planning on playing the piano”.
I wasn’t in the slightest bit concerned about playing the piano, I was scared to death that they were going o take my finger off. However and perhaps in part as a result of my protesting the idea with everyone at every turn, I was asked to choose between having it set to stick (and stay stuck) straight out, or bent over in the shape of “a one finger fisticuff” (they couldn’t just set it okee dookee like, and back to normal, because the poor thing’s owner had krankfrangled it almost completely beyond repair, and was just plain lucky to have any finger at all even one that looked like it had been glued back on with an L plane) I choose the one finger fisticuff model, and ironically, when I’m writing a tune on the Piano, (I’ve written some good ones on it, but don’t ask me to play any) (on the piano that is) it’s the only finger in the whole gaggle , that consistently finds and hits the blasted note that it’s supposed to.
I spent the rest of the day and that night in the pediatric ward of the hospital, and therein met some kids whose lives were very different from my own, meaning that they had serious health problems as a fairly central issue and frankly, I hadn’t given much thought to kids in their situation before. My time with them was very touching and important. It was heartbreaking to see them, complete innocents, suffering… Continues
Book 4. Gran Faddah Buckra An De Ol Geeal
A time when I wa small ah went to see me ol granfaddah de ol Buckra de Paehae de fus fus fus. Ah sae Granfaddah! Ah come tu see yu! He sae Ok den, look me hare, but yu gon got tu bettah stay ou de way, a Ol Geeal coming to see me fo something an ah don wan yu get mashup when de action start! Ah sae “ A Ol Geeal? A Ol Geeal? Who it tis, granfaddah, who it tis? He sae “Ah me bouy, don worry bout dat, yu gon see, don worry bout dat.
I sae “but Granfaddah, wha kina action yu gon do wid a ol Geeal, yu gon teach ha how tu fall asleep in de chair? Yu gon teach ha how tu take out an put in ha teet dem? How to play domino? Granfaddah,Yu tink de ol Geeal gon wan tu hear bou when yu poisen yu self an almos whole a dounde road, when yu cook up dat Barracota in de olden days? Oh how yu used tu tief Mango? An Granfaddah wha yu gon gee she tu eat? De Ol Geeal ain gon wan no sardine and French bread to wash doun wid kool aid, Wha wrang wid yu, Granfaddah, you don know you too ol to have a ol Geeal?
“Ahh meboy” he sae “ahh meboy” das wae yu wrang, you mubbe tink yu Granfaddah ban ol”? Yu dunno yu Granfaddah is a sharp boy? Yu dunno yu talking tu de man de used to call “Buckre de Pale-Male, de champagne ah Gingerale?” Ahh mebouy, in dose days Yu Gran Papeeto had woman like mosquito, woman like whelks, like genip, woman wha couden done me boy. Yu tink ah spen me whole life scratchin me baney? No Sah, Yu tink all I cou do is siddown outside de kitchen do? No Sah, Not me me bouy, De ol Buckra still know a ting or two, yu gon see, don worry bou dat!
De minute Granfaddah see de Ol Gieall by de do, he suck in he belly an he stann up straight straight, den he sweep off he hat an he bow doun low like Erroll Flynn, he sae “Come right in my darling, come right in my dear,
Bouy, ah couldn believe me oy dem, de ol Geeal wa de famous Carnival Queen from Nineteen Fifty odd, a ol Geeal wha we da see in de newspapah almos every week for doin something good, Dis ol Geeal is like de fus lady of de lan. Wha she doin hare wid me Granfaddah?
Before ah could ask ha dat question, she watch me straight in me face and she sae “Good afternoon young man, I’m hear to take de measure of your Grandfaddah’s Curtin rods” and wid dat de two a dem went straight in side de bedroom.
De nex ting oy know, ah hearin’ tee hee hee and tae hae hae den something fall doun on de bed an de bed spring start to squeak and squeal , an Man, ah embarrass to tell yu wha come nex, ah hear de ol Geeal sae OY!, OY! Den she sae “Oh me dahlin Paehae yu know das how ah like it, yu know das how ah like it, den she start tu bawl out Oh Godee Oh Godee (Ah sae to me self what does dat have tu do wid curtin rods?)
She singing now, Yes Sah, Buckra, OOWEE! She singin now! Yes Sah! Buckra, OOWEE! Yu got me goin, yu got me goin OY OY, ah hear dem bouncing up an bouncing up! Oh Godee Oh Godee! She bawl out don stop now don stop now! Man anit soun like a donkey broke he win in de) wid A AAIIIEEEH! (ah sae tu meself, dat soun like de end a de worl) den a KA_POW! ah hear de bed broke doun! Den all ah hear.. is notin atall, noting atall me bouy, den ah hare de ol Geeal say .. Hello? HELLO?
De nex tin I know de oL Geeail bus out tru de do, bawlin out Oh God! Oh God! Sonny boy come quick, yu Granfaddah Dead, Yu Granfaddah dead!, Ah done kill yu po Granfaddah, Oh God Sonny boy, ah sae yu po ol Granfaddah dead”
Ah went in tu see fo meself, Man de ol boy wa white like a ghos, he oy dem wa roll back in he head, he toung hangin out de side a he mout,. De woman bawl out Oh God I’s a murderah, I’s a murderah! Ah done kill de sweet ol Buckra!
Den she sae Ah got to get outta hare befor me chrren dem fine out, ah gato go, I ain wan me chrren dem know I ain wan nobody kno…an wid dat she pick up ha wig an she run ou de back and clime doun in de gut an clim up de uddah side a de gut, den she broke thru de chicken coop by de cenep chtree an she wa gan..
Ah sae OH Godee!, OH Godee! De ol Geeial done gan an le me here alone wid me po dead Granfaddah… Ah sae “Oh Godee, how ah gone tell me Mammie, who it tis kill me Granfaddah? How a gone tell me Mamee wha dey wa doin in de bedroom?” Wha ah gon tell de Police? Ah dunno what u tell de whorl?
Jus den ah hear a voice sae “boy wha wrang wid yu, yu bettah stop yu bawlin if yu don wan some clout”..when ah tun around, it look like ah see me Granfaddah dae sittin down good as gol an winkin he oy.
Ah sae “but Granfaddah yu dunno yu dead like a ol keeat, de ol Geeal done kill yu, yu ain know yu done dead awreaddy Granfaddah? Yu don tink yu bettah lay doun?
He sae “Ahh me bouy, don be schupiddy, yu keean see das me good way tu get rid a dem guirl? Das de Ol Buckra trick tu mek dem go home when ah done had me way wid dem. He sae “ Ahh me Bouy…don worry bout a ting, an jus wait til yu see de two ol Geeal wha comin’ tomorrow!!!
Book 1. In Nueva York!
BOOK 1. In Nueva York!
We arrived in Nueva York that night with the wind a blowing and the snow a snowing… Mud walked out of the plane, down the stairs and across the tarmac with little Larry snuggled in her arms, Gale and I following behind. People looking in amazement at this woman and her children dressed for the fourth of July, apparently completely ignorant of things like baby blankets, mittens,, noggin toppers and the like. An older white gent looked pityingly at Mother with her little brown babe in arms, and took off his heavy overcoat, draping it over Mother and child. We knew instantly that we were in a world, a reality that was completely foreign to us, we (Gale and I) had spent over half of our young lives surrounded by people of color, or colors, immersed in cultures and climes very much other than this one.
I can’t speak for Gale on this but I had come to view the world from the position of an underdog with “something to prove” and white folks as “odd otheren” that we did not particularly identify with or fully understand.
It was very strange to see “the othern” all around us, and to all but hear them making judgments about Mother and Larry and Gale and I, things became even stranger when we saw our first so called “American Negros” all relegated to subservient positions in the airport, and saw (and felt) the tense and toxic vibes that existed between the Blancos and los Negros and vice versa.
The number of shifting realities present in those first minutes in the terminal at Idlewild Airport that winter night was fantastic.
Our survivor antenna were sparking and spinning like never before…our exposure to the new “who is what to whom and which is where and why and how and what is what is what” would take intense sorting out and every day that followed would bring more and more of the same…
For example, the very next day while riding in Mud’s twin sister Lea’s husband Jack’s (who had been on the verge of marrying Mud in St. Thomas before she choose Howard instead and we wound up in Puerto Rico) car, I saw a white kid my age running like crazy down the middle of a four lane avenue, a huge box of Jujubes in his hand with the lean mean grown up manager of a nearby supermarket right behind him. The kid was flying…
I was filled with curiosity and strong emotions as I watched, in large part because I had never seen a white person in either of these roles. Why would a white kid have to steal anything? Why does a grown up white man care enough about a box of candy to be running around in the street traffic and risking his life, like this? “Suppose the man catches him? is he going to kill him or just hurt him? Will the kid fight him and bite him? Will they call his parents? Does he have any parents? Will the police come, will they beat him up? I thought It was among the strangest things I had ever seen, but only because the people were white.
In my experience, white people didn’t work, and certainly they didn’t run through traffic risking their lives over a box of Jujubes, white kids didn’t have to steal candy they were rich and got what ever they wanted by whining for it.
The white adults I knew were wild eyed artists or owned things like hotels or jewelry stores or were plump and pale effete tourists, the only white children that I’d ever seen (or could remember having seen…-although we may have seen some such before we went to the Islands in the first place) poor enough to perhaps have to help themselves to a bon bon from time to time, were Gale and me, and of the two of us I was the only white child that I know of in the whole wide world that had actually stolen (and eaten) candy. In reality, I had stolen some pennies and a quarter, some nickels, and dimes, half a handful of change from the cash box of a little shop in the Islands owned by the parents of friends of Gale and mine. (I was so young that I didn’t yet know how to count, or I was so upset at what I had done that I didn’t want to know how bad a deed it was, I bought some penny candy with it just outside of the Barracks Yad and stuck the booty and the little looty left over under my pillow. Apparently I had scooped up more than I needed for the penny candy I wanted, so..not knowing what to do with the overage, I may have thrown it away by the road side) Nevertheless, even though I was only six or seven when I lost my state of grace to petty penny pilferin’ misery, I still felt terrible about it. (Ah..In fact, I still do) Against that background, I struggled with what I was seeing play out in the middle of the traffic before us. A light changed somewhere and we moved on down the road without seeing the conclusion of the tableau or act three. (My hope has always been that the boy got away but was so upset by his actions and outcome that he never never never did anything like that again. It may be an unlikely end story however, because frankly the little white kid looked like a pretty tough little guy already. Another something novel and new to me)
Lea and Jack were pretty blasé about the whole thing it, and I got the impression that stuff like that happened all the time. It “blew my mind” (which means it exploded my preconceived notion of a particular reality) Yep,
Then there was this thing called television, and its crazy crazy shows like “Queen For A Day” and “$64,000 Question” and something called “The Mouseketeers” with a beautiful soulful looking girl named “Annette Funichello”. We were in someplace called “Kew Gardens” in a world dunked and dyed this God awful brown and gray. A color that I’ve since dubbed “Brey” the essence of depression that ran under over and through everything everywhere you looked. The sound track to all of this was an Ookity Dookity song called “Catch A Falling Star And Put It IN Your Pocket And Save It For A Rainy Day” by a singing barber named “Perry Como” who made Pat Boone look like Humphrey Bogart. The song was #1 in this, the world of Rock And Roll, one more reason why Gale and I along with Mud and Little Larry were thoroughly disoriented and confused.
One day I was looking out the window and saw some scruffy older kids messing around with the great New York City equalizer, Stickball. However, just as I had earned my own place in the scruffy lineup, the whole kapassel of us (Mud, Lea, Jack, Hansie ( Lea and Jack’s little guy John Just about the same age as Larry) Claudia (Lea’s beautiful little girl,around two years old at the time) Gale, Larry and I.) left for Far Rockaway and Wave Crest Gardens.
“Wave Crest Gardens” (two or three blocs of “private” public housing type buildings, each “Bloc” consisting of two U-shaped six-story buildings facing each other from either end of a raised central space containing park type benches and the odd patch of grass, stunted trees and bushes. The “Gardens” were a block from the board walk and the beach at Far Rockaway. A far so far that the Board walk actually ended there. It reminds me of El Ultimo Trolley in its lonely finality.
Now we were in another world, inside another world, because most of the people living there were a kind of white people called “Jewish” a people with some interesting thoughts and experiences around race and cultural prejudice themselves. Of course up to that point the whole Jewish New York reality might have been a Chinese opera for all we knew, however we soon realized we were foreigners again with much to learn. And we did.
Probably first and foremost was the realization that the ideas that we had about white people were pretty much adopted from black people and brown people who had been oppressed and disrespected by “the white people” and were jusifiably wary of any universe that contained them. Consequently, our understanding of “white people” was cockamamie and incomplete. We realized that up close, there was (for us at least) no “the white people” rather there were innumerable groups of disparate peoples (many of whom and didn’t like each other one bit), fought constantly and said nasty things about each other. We were now living among a “white people” who had been wronged, abused, brutalized, and murdered due to prejudice. However, inspite of that, I was surprised to discover that some of the kids had some hateful prejudices of their own.
Fairly early on as we all jockeyed for places in the hierarchy of cool (roughly based on appearance, ability to fight, demonstrated skill in Stickball, Punch ball, Handball, Stoopball, and your ability to sound like the singer on a Rock and Roll record) some of my age peers (11 or 12 years old) came running breathlessly to tell me that “Alan” a hither to coolish bigger, older kid, had called me a…a…a…”spip or spuk or snik or something”, a word I had never heard in my life and had no meaning whatsoever for me. “What’s that? I asked them, “It’s a person from Puerto Rico!” they exclaim-s’plained, a person who comes from Puerto Rico! “We came here from Puerto Rico, but what’s the matter with that”? I wondered and asked. They were flabbergasted…how could I not know what that word meant? How could I not be outraged by the word? How could I not know that someone had tried to be completely demeaning and insulting of me and what the idiot thought were my people? By calling me a word that had no meaning? I didn’t get it, It was ridiculous.
I didn’t even know what he and they were talking about. It took quite a while for me to understand and realize that this Jewish kid (a bigger older kid who I had respected and thought worth learning something from) thought he was putting me down by calling me a spluk or something. It really was ridiculous. (Years later a New York Taxi Driver trying to hip me to the ways of the City and educate me about Borinquenos, proudly explained to me that “People from Puerto Rico are “Spanish Puerto Rican Indian Coloreds” and that’s why we call them that word.
I still didn’t get where the insult is in being “Spanish Puerto Rican Indian Colored”, because in fact there’s nothing wrong with it, it’s a beautiful joining of beautiful peoples with a powerful and romantic heritage and history.
Anyway, that kind of cruel idiocy seems to be one of the common threads connecting all of human kind, it’s always disappointing when it shows up but most especially from someone who you think might have suffered enough to know better. As I said earlier, we would learn a great deal in Far Rockaway, New York, USA in the Winter, Spring, Summer and Fall, of 1957. Continues…
Book 1. Isla Grande Continued…Book 4. “Tales of The Second Coming” Continues..
Book 1. Isla Grande Continued…
While we were living at “Parada Vente Cinco, Y El Fangio” I was enrolled in “El Colejio de San Juan Bautista”, a fine and upstanding Escuela, wherein not a word of English was spoken..
None, no, nunca, nada, except of course for the odd combo/ patois dialect passing for English, spoken by yours truly.
The experience at San Juan Bautista was after all is said and done, one of the most instructive and educational of my entire academic career, and I would recommend it for anyone. The experience of becoming and being “El Estupido” simply because of language is like becoming the Hunchback of Notre Dame, or Louie the leper over night A most illuminating and ultimately, empathy producing exercise that I think ought to be a required part of every ones education.
While at Parade Vente Cinco, I made a friend, Terry (who lived nearby, but away from El Fangito). Through Terry, I was introduced to “Abuelitas” (a Spanish term for “little Grandmothers”).
My friend Terry’s Mother was “Puerto Ricania” his Father was a state-sider as I recall, but out of the picture at the time… In any case Terry and his Mother were living with his Abuelita, in a beautiful old “Spanish Moroccan” style, mini Hacienda, A very “Castiliano” pad and atmosphere (in those days the “upper class” considered themselves “Castilians” or “Castilianos” pure or semi pure “Spaniards” as opposed to the “lower classes” which were made up of a mixture of Spanish, African, Indios, and, well you name it. All together known as Puerto Ricanios, Boricuas, Borenquenios, as fine a Sangria of humankind as can be found any where on the Earth.
Americans occupied a position in the Castiliano hierarchy below the sub heading of “Vulgar” “Vulgarians” were tolerated more or less in direct relation to the individual’s power or financial status. And God pity the vulgarian who was “poor” “ese no vale nada”, their only redeeming quality was the fact that by their existence, they proved the natural superiority of Castilianos.
Castilianos who were of course, by divine preference, selected by Dios as most appropriate to “discover”, civilize and rule the new world. Ah yes… there had been some mismanagement, setbacks and perhaps even a few mistakes, but as long as “los Castillianos” held true to their superior attitude and ideation, this too would pass, this too would pass. Terry’s Abuelita was one of those.
It was through her intervention in our friendship that I given my first introduction to an interesting new point of view on my natural place and relative worth in the world.
Terry and I were talking about ways to make some money, (actually I suppose, I was the one concerned with making money because he always seemed to have all he needed, while I had none.) One block over from Aveneda Fernandez Juncos, was “Aveneda De Diego” a far more ritzy Aveneda, than Fernandez Juncos, On Aveneda De Diego, was where you would find “El Nilo”, a well-known breakfast and lunch type restaurant with these fabulous giant glazed donuts in the window (that I was dazzled and dizzyfied by but could never afford) always on sale for only “un bejon” a nickel.
Further along Aveneda De Diego, there was an empty lot in which a little traveling carnival set up a few rides. Among them, these great looking little cars that you got into and steered around a wooden track. I wanted more than anything in the world to be able to give them the quarter fare needed, and take my turn around the track. It happened that the day that my dear Mudder dear had sufficient discretionary funds to give her dear little bonehead dear a quarter, was the very day that the little cars had packed up and left. I was very sad and disappointed.
I know that things were worse in the Fangito, that my self-centered materialistic material wants, were wants, not needs and in the grand scheme of things blah, blah, blah. However, the experience of “having not” and “getting not” over and again, brings a sadness to the spirit, and the question of “hey, wot th’ heck, what’s goin’ on?” and” hmm, what the matter with me?”, begins to bubble sweetly beneath the consciousness, silently building to the subtle burp and overt belching of odd and uninvited emotional and cognitive bub-splosions and disturbances from time to time.
There was a big air-conditioned movie theater on Calle De Diego that was advertising and showing a really interesting looking grown up movie “Carmen Jones” starring a really interesting grown up actress, Dorothy Dandridge. The posters outside showed a strikingly beautiful lady of color in the starring role, (which even an eight year old knew was very unusual) I was really intrigued by the posters and knew there was no way that I would be able to pay my way in, so we decided to ask the movie theater man for a job. To our surprise and delight he said something like “sure, I’ll give you un peso each to sweep up and clean out the theater after each show”. With that he took us into the theater, it was enormous, but we got right to work…a sweepin’ and a pickin’ up and a moppin’ and a pickin’ up and a moppin’ and a sweepin’ and a “oh oh” a scrapin’ gum and a god knows what and a sweepin’ and as always, Terry’s Abuelita wanted him home for lunch, which meant that he had to leave before the job was over..Which meant that I had to do it alone, which was no fun, not even a little.
When I saw Terry later, he said that his Abeulita had told him that he couldn’t do that kind of work, that theaters “were filthy and full of spit” and that she said “while I could do it, she wouldn’t allow him to go back there anymore”. When I heard that I wondered why if he couldn’t, I could? While I didn’t quite understand what that meant, I knew it implied something that didn’t “feel” right. Something was wrong and further, it left me cleaning up the whole filthy place all by my self.
Fortunately we moved to Cacique Street before my soul sank completely through the sidewalk and “el estupido” got demoted all the way back to the first grade.
Cacique Street was interesting for a few reasons, One, because we lived in a house completely devoid of any furniture or furnishings (knives, forks, plates) of any kind, what so ever. And Two, because Gale and I had never been so all out blasted and interminably hungry in all our lives. It seems to me that all that Gale and I did on Cacique Street was wait and wait for an adult to bring us something to eat. It was crazy.
The only thing in the house other than our hunger and our suitcases was a radio…Gale and I played it day and night. Not surprisingly, the piece of music that I remember best from Calle Cacique was a bouncy melodic advertisement (in Spanish) for “Fruta Melocoton…..Libbys!” A jingle for Libby’s brand Peaches and Apricots, I’m telling you, it made a deep Impression…to this day “Melocoton” is one of my favorites of lip and lingo.
In a stroke of good fortune, we were unable to pay the rent, and had to move again.
This time to a furnished apartment at 1700 Ashford Avenue, in “El Condado”. Condado was a relatively upscale section of Santurce, that ran parallel to Condado Beach. 1700 Ashford Avenue, was an eight to ten story wonderful Spanish style old world apartment building overlooking the ocean, The coconut trees swaying in the breeze along the silver strand, the morning sun rising up golden and good out of the idyllic blue. It was beautiful.
We lived in a little apartment over the garage behind the main building blocked from the sea breeze and the view, still it beat the flaming heck out of tragico El Fangito and the crazy hungry nights and days of Cacique.,, Continued
Book 4. “Tales of The Second Coming” Continues..
Last evening, Your sixty four year old singer who will not take no for an answer, continued his voyage of discovery in pursuit of his ever elusive audience, up to and into the Capital of the great state of Pennsylvania, Harrisburg. He was accompanied by un congero Puertoriciano que se jama Rafael, a blond Croatian guitarista Goddess that calls her self “Barbie” and a “visually challenged”, well…a blind stick tappin’, ex NYC recording engineer and whiz-bang computer wizzit, John “E”
The object of their objective was a small (but big inside) bookstore and coffee joint called “The Midtown Scholar’ where he would be auditioning via their “Open Mike”, for a coveted one hour slot in their performance schedule which and when, there-upon therein, he would be allowed to put out a tip jar and possibly pass the basket.
We were met at our Capital City objective by the spark plug and leader of the MAAC (Middletown Area Arts Collective), Shari Brandt www.middletownarts.com (Middletown is “The Gritty little City that Glows” ever since Three Mile Island made it the shiniest place on the map) MAAC’s radical new Theater and Media group may be producing “the sixty four year old writer who won’t take no for an answer’s” new mini opus “Three Mile Island, The Whole Truth and Nothing But The Truth, The Musical” we shall see…
Shari was accompanied by her husband handsome Dave and Bob The Train Engineer. All there to provide a kind and much appreciated collective support experience.
Meanwhile, your boy knows more than a little about “passing the basket” being a veteran of Greenwich Village in the sixties and Washington Square Park, in particular. (The best spot was under the arch where a singer could count on a nice echo effect) in fact the very spot in which and where in, he had accidentally discovered that the most astounding, surefire and guaranteed success with a singular “ basket pass” had little to do with the quality of the performance and everything to do with the visual effect of the comely wench making the round of the crowd, basket in hand. Remembering clearly that his most successful basket pass of all time occurred when his wild redheaded earth mama sweetie Annie’s proud young gravity defying pink and ivory breast had found it’s way out of her hippified peasant blouse to astound, electrify and thrill the crowd out of $80.00 (eighty dallah) cash money in Pennies, Nickels, Dimes. Quarters, Dollar bills (even a twenty) and sundry bells, buttons joints and medicinals. (yes, yes, I know, I’ve promised a “G” rated Memwa? but Annie is the Mother and Granny Mother of two of my girls and I think the story may be important and potentially useful for them to reference, when heated discussions arise over their own behaviors and wardrobe choices)
The question tonight here in Harrisburg, will be will these neo-hip folks object if we skip the songs and go directly to having the Croatian Goddess Barbie, flip, or float one out, basket in hand, for a quick killing. We shall see…
The problem turned out to be, that the person your singer needed to impress to get the gig, didn’t bother coming, and nether did the sound guy. So your boy stepped up to the mike, electric guitar in hand and offered up his performance in honor and remembrance of forty-five years of folkies, Earth Mothers, basket houses, bazooms, high falutin’ coffee house waitresses, rainy nights in the village, dark streets flashing reflections of red amber and green, neon lights and pouty lipped girls.
Your sixty-four year old “comeback kid” screeched a splendid and heartfelt medley of Zimmerman tunes artfully scrunched in between the Donovanian epic “Catch The Wind” in a trans Atlantic, sense defying audition tribute to what was, what is, and what will be, this moment, that moment, and forever, etc. Quite something to hear as the vocal mike was live live live and the guitfiddle amp dead dead dead.
Ah well, it certainly wasn’t the first time, nor will it be the last… We arranged a second audition with the decider, and the singer will keep his spirits clean and sober and high high high, because it turns out that for him, life and love and music, is just better that way. Continued…
Book 2. And Book 4. “Surrender To The Sun”
Book 2. And Book 4. “SURRENDER TO THE SUN”
I wrote todays post recently, on the day of the vocal session for the new recording of “Surrender To The Sun” here’s the song and the lyric.
“Surrender To The Sun” (by Scott Fagan and Susan Minsky)
Go down by the sea, surrender to the sun, find the one you used to be, forget what time has done.
Go down by the sea and heal your heart, too many memories, are tearing you apart
Your eyes show, your tired so of love of lose or win, old friends know, you’ve got to go, and let your heart begin again
Istrumental..
Your eyes show, your tired so of love of lose or win, old friends know, you’ve got to go, and let your heart begin again
Go down by the sea, surrender to the sun, find the one you used to be, forget what time has done.
Go down by the sea and heal your heart, too many memories, are tearing you apart, their’re tearing you apart…
It’s a simple, surprisingly beautiful lyric that I wrote while visiting Patty and The Bix in their pad overlooking Hull Bay, in St. Thomas in 1976 We recorded it not long after as the “Theme Song” for a Canadian Film called “Recommendation For Mercy” (The film was about a young Canadian teenage boy, who had been accused and convicted of Murdering his sweetheart, lots of folks felt very strongly that he was innocent and had been railroaded by the authorities. I am happy to report that his conviction was recently set aside, he was declared innocent and released from prison.
(You can find the original recording on youtube or at http://www.lilfishrecords.com) Warren Schatz produced and arranged it, and it was released by RCA as a single with “Many Sunny Places” on the other side.
“Surrender To The Sun” went to become #1 on what was then the #1 station in New York City, however it was never distributed beyond New York, so no one outside of New York ever heard it. It was a beautiful record, and led Sid Bernstien to the verge of singing me to a management deal. Had he done so things might heve been very different. Why no distribution? I don’t know. Why no signing? Yo no se…
Nevertheless the recording did bring about quite a positive change with at least one neighbor of mine, I lived on the NE corner of 76th and West End in those days and there was a fellow living at 76 and Broadway, who had a powerful resentment towards me, having to do with fire hydrants and curbing dogs (his dogs) and other city silliness. I couldn’t walk up 76 street at night ‘cause when I did, inevitably a baggie full of doggie nitro, would come flying down from his 10th floor window, I had some mighty close calls. When “Surrender To The Sun” was #1, he confronted me on the sidewalk one day wanting to know if I was the Scott Fagan on the record. Expecting God knows what, I confessed that I was. He stepped forward and stuck out his hand and said “My name is Bob Brown, and I think that your performance on “Surrender To The Sun” is the first perfect vocal that I’ve ever heard.
I was mighty relieved, Bob turned out to be a great piano player with his own state of the art eight track studio. We did a number of recordings together including the original sessions for “Sandy The Bluenosed Reindeer” (song and story) and a demo (the only recording anywhere) of “Sure Has Been Good Loving You Baby” which you can find here…
Bob Brown was a great and mighty piano player, singer and personality, I hope his is alive and well and rolling in the clover. Hiya Bob!
In any case “Surrender To The Sun” is one of a number of songs that I have written that I don’t believe have had a fair shot at finding their audience, (including “Sure Has Been Good” which I wrote with my partner “The Great Cocacola” Joe Kookoolis. In the 60’s) I have recorded a few of them more than once, in an effort to find their audience.
We recorded “Surrender To The Sun” for “Dreams Should Never Die” (The V.I. Songs Vol ll) as an interesting Latin Calypso arrangement, with a beautiful guitar solo by Jeff Medina. (Worlds champeen guitar from Trinidad by way of St. Thomas) When I wrote the Musical “The Virgin Islands Songs” I realized I wanted to reprise more of what we had captured in the original recording. Interestingly, Jeff Medina and I have been working together on and off since I recorded the original, and put a band together called “ting”(as in Scott Fagan and Ting which has meaning in the islands) because Sid Bernstein was going to sign me and we thought that we would be going on the road to promote the record. Yo no se!
In any case, life, fate, destiny, happenstance, persistence, determination, luck, irony, serendipity, Warren Schatz and God’s good Grace has allowed me another whack at the tune, another chance to record this beautiful song with this beautiful arrangement (and with what I have learned over these long years in spite of my self)
I will give it the very best of my heart and soul for once and for all. I hope to make it one for the ages. Or as they say at the old Sixto Escobar stadium “Un Bataso Largo”
Ok now, the session is over and I have done my vocal, I was in good voice, I sang it with all my heart, it is a beautiful song, beautifully arranged, beautifully played, beautifully produced, and beautifully recorded..now we shall see once again if we can get it to the people, and if we can, if they will embrace it.
I’m fully charged, it was done in one take. We did another as a “safety” and now I feel ready to do at least four, four hour sets for forty thousand people..or carry on from here ‘til dawn.
There is always the question of what to do to come down. This (post performance time) is a dangerous time for singers and musicians, as we have such an intense level of energy, begging to be burned. It used to go to the wenches, but tonight I think I’ll walk it off. I’ll go down by the sea at Lindbergh, and surrender to the cool night breeze and sing to my self up and down the beach until the energy is back to manageable.
We sent the track with the vocals oback to Warren via “You Send” (an online company that allows for the transfer of large music files, fairly quickly) so that he can do the mix. I am anxious to see what he thinks of the work that we have done.
I have a long history with the Wonderschatz, whereas Derrick recorded my voice for the first (but hopefully not the last) time yesterday, Warren has been recording my voice for forty five years. Consequently he is familiar with the instrument and how to mike it (which microphones to use, at what volume, what the bass, mid range and treble concerns and settings ought to be and so on) He started as a recording engineer at Associated Studios on 7th Avenue (above the Metropole) between 48th and 49th streets in New York City, just after I came to New York and started doing demos there in 1964. Many young singers (my self among them) got their early recording experience in demo sessions, doing the vocals for the “latest and greatest” new song from this, that or the next writing team or publishing company. Demo sessions were often stressful and certainly hard work.
You would show up, and there would be a song or two or three that you had never heard before in your life. A collection of professional studio musicians and other, often female, background singers (each one more beautiful and exciting than the next..and all very very good). And you. Often the youngest, and in the beginning at least, certainly the greenest. And above all (yes pun intended) there was the omnipresent tick tock “every moment is money” clock on the wall.
Demo sessions were scheduled for one to two hours at the most. The expectation was that without question, the tracks and vocals were all going to get done within the time allotted. No ifs ands or buhbuhbuhbut’s about it and boy, you don’t want to be the one who is gumming up the works. It was like a crazy musical version of “The Weakest Link”.
“Dear Lord don’t let me forget how this odd melodic change goes in the second release, and have to go back to the islands to explain to one and all why the singin’ fool of a white boy from dung de road is a big fat failure already,”..Or “Dear God don’t let me have to go back and tell Doc that he was wrong about me, that I am just a goofy teenager (with a fondness for drink) from the Islands, who ought to be learning how to whittle coconut trees into toothpicks or free dive Queen Conch sixty at a time, a hundred feet down off hammerhead point” . or “Dear Lord God, what about me poor Mudder”
These and many other things were banging around in my head as I would step into the vocal booth to sing the lead and “make this song a hit!” but I have to confess that there was no more powerful consideration or, immeadiate, heart pounding inspiration for me, than to be singing with the “oh so ultra divine Angeles of the ‘OU WAA”. The background singer girls. I loved them then and I love them now.
Good God awmighty, I just love those girls.
Any way, Warren was the engineer on many of those sessions, and he, like all the rest of us was subject to the tyranny of the tick tock and the idea of the instant elimination of he that faltered. In short, he learned to get it right, quick! (And has been getting it right for forty five years). Those demo sessions were, all things considered, heady, exciting, great fun and above all intensely educational. (Did I mention the beautiful background singer girls?)
Will the Wonderschatz listen and say, “oh poor Scotty, his future is way behind him. They were right, he left his best performance echoing through the catacombs beneath the Pilgrimage Theater in Los Angeles, thirty seven years ago, or, unfortunately I left his best performance in the trash bin, on twenty feet of edited eight track in 1976”. Or might he say “Hmm, the boy has finally learned how to sing a little, s’bout time” or “Too bad he’s finally learned how to sing, but now his instrument’s gone all wavery and quavery all over the place”.
At least I have a comeback prepared for the last possibility. It goes like this, “Oh Yeah? Well If you were sixty four and you tried to sing a song like that, I bet you’d sound all wavery and quavery all over the place too!” The fact is, if all I can do is waver and quaver all over the place, even I would acknowledge that perhaps I really ought to reconsider “whittling as a way of life”.
Ah well, I do hope he likes it, I just have to wait and see…I’ll be looking for his email today And here it is, and..here is what Warren had to say.. “I LOVE this vocal! So heartfelt and special. Boy!!! You still got it son!”
Sheesh!! What a relief! God bless the Wonderschatz. And now the work begins. We have to accomplish something that we have never been able to do before, and that is to get a Scott Fagan recording to its audience. How to do it? How to do it? We will have to work on that next.
Book 2 and 4. Sessions, and Book 4. A Little Trip To Jos Van Dyke
Book 2. and 4. Sessions and Book 4. A Little Trip To Jos Van Dyke
Warren Schatz (the producer of my RCA Album “Many Sunny Places” and Vicki Sue’s “Turn The Beat Around”) has sent me a most beautiful new track for my song “Surrender To The Sun” for inclusion in “The Virgin Islands Songs” I am to add my vocal and send it back to him for mixing.;
I am very deeply excited to do this vocal, I’m thinking this is a once in a life time opportunity. It is a beautiful track of a beautiful song calling for a big and beautiful vocal. And while I know beyond any doubt that I could have “killed” this performance once upon a time,, the truth is that I’m afraid that I’ll discover that I can’t sing like that any more. We shall see, I will do my absolute best to prepare myself to deliver the ultra good goods. I certainly am not lacking in inspiration or motivation. This one is the ultra it! And I will give it my ultra all.
I’m concerned that the heart and soul and mind and spirit are willing but the body may be too worn out. We shall see.. (I will post the recording, here, perhaps you would be kind enough to send along a comment indicating your response, once you’ve heard it. Thank you in advance)
It’s interesting, I recall being less nervous for my first ever anywhere recording session, and it was at Columbia Records.
Wes Farrel was the producer, Doc and he had gotten together and written two tunes “You Weren’t Made To Be True” and I don’t remember the other. Wes had come by the Forrest Hotel, to find the right keys and teach me the songs. He decided on keys and then went in and cut the tracks at another studio somewhere, and now we were in the hallowed Studio A at Columbia Records to do the vocals.
On my way to Studio “A” I walked past Arthur Godfrey in the hallway, and though I was long used to getting disapproving stares and glares from “adults” (generally because of my long hair and bare feet) he gave me the biggest warmest smile and thumbs up “git ‘im” sign. It was very surprising, very encouraging and very much appreciated.
As I sang for all I was worth in the cavernous Columbia studio (where they would record “Like A Rolling Stone” a few years later), Nancy Ames (another “adult” that I only “knew” from seeing her on TV) was at the control room window rooting me on in the most enthusiastic way.
I thought that it was very kind of her and I never saw her again to thank her…so…Thank you Nancy Ames for your kindness to a young boy on his first day at bat in “the big leagues”.
Wes was a very good looking fellow very sharply dressed who would soon have a big hit with “Hang On Sloopy” and go on to marry Frank Sinatra’s daughter Tina.
Wes looked like he came from moola and he did. He was (or seemed) supremely confident (I think you would have to be, to marry Franks daughter) He was like a perpetual motion machine, the fact that I had mentioned in rehearsal that I thought the keys were low elicited a raised eyebrow and nothing more, so we did the tunes towards the bottom of my range rather than the top (where the good screechin’ and yowling takes place) and I learned lesson number one.
No matter how experienced and confident or preoccupied the producer seems to be, and no matter how new or much of a novice you are, you have to make damn sure that you have found the right key before any body cuts any part of any track
Never the less, Al Stanton was the President of Columbia at that time, and has maintained a positive regard for my ability as a singer from that time to this. In fact he is the one that signed “Many Sunny Places” (the record was originally paid for by Love Records in Helsinki Finland, because we couldn’t find a deal anywhere in the states) to RCA Victor, and released it here in the states.
I was at the Columbia Studios alone that day because my Manager, the great Doc Pomus (who suffered from childhood Polio and was on crutches or in a wheelchair) was (at that time) finding it too painful and difficult to get around.
Doc’s writing partner and pertner in the production company that I was signed to (Pomshu Productions) Mort Shuman, was living it up in London with Andrew Oldham and The Rolling Stones, and would be back in the Spring.
It was intensly interesting; but some level I was really “just a teenager” from the Islands, albeit an oddly and unusually experienced one, but never the less, I would have given anything to have had some of my teenage friends there with me.
I was and am such a mix of emotional ages. even now.
However, I have learned to do my very best regardless, as I will for this coming session.
My early days as a young singer in New York were fraught with lessons (which is not to say I was learning them all) real and big and important things to be examined and understood and applied. Unfortunately all too often they were delivered in a cultural context and referential language that seemed foreign to me.
Many many times through the years, it has been suggested to me that I ought to have sailed east rather than west from Charlotte Amalie.
Though I’m born in New York, the unspoken but assumed cultural inferences and subjective cultural preferences embedded in the language of the States, the City and perhaps most especially, the music business, were not a comfortable fit for me, frankly in retrospect, I’m surprised that I got along in the milieu as well as I did, for as long as I did. With the exception of those time in which I was a part of making music, I felt very much like a stranger in a strange land. To be continued..
Book 4. A Little Trip To Jos Van Dyke…
We have been planning a trip to see our friend Philiciano Callwood aka “The Fox” aka Foxy. He has a beach front bar in Jos Van Dyke, that has become quite popular over the years. We are going up to see him about scheduling a concert. Tuts and Timmy and Nicky and I have each and all known him for many years. Tuts and I have known him the longest, in fact since we were all boys living in Bournefield in the 1950’s.. Philiciano (or Phillie as he was known then} was brought down to St. Thomas by his mother, who worked as a house keeper for Mrs. Creque and the three naughty Creque daughters.
They all lived in the huge pink Creque Mansion on the “Hidaway Road”. A Mansion large enough to contain both Heaven and Hell in equal measure, and it certainly did.
That any of them survived the Creque Mansion is the kindest kind of miracle, and Foxy’s subsequent success may be proof positive that the long sufferin’ can earn and redeem good karma points. Knowing the Creque girls as we do, Tuts and I can “vouchify and attest” that he earned ‘em, every one.
These many years later, we (and they) are all very happy for his good fortune. That good fortune includes falling in with the Lady Tessa, late of wild Australia, who turned out to be his Ms, his match and and his mate.
Our little group of travelers has now expanded by one, to include a lady who is also a legend in her own time, “Miss Delia” of St, Thomas, Harlem, Height Ashbury and Tortola. Our little crew are all miraculous survivors.
We have been “adults” since childhood, which means our childhood lives were shot thorough with adult concerns and behaviors like “where are my cigarettes and where is my rum” and our adult lives shot through with the behaviors and of concerns of childhood, like ”where are my cigarettes and where is my rum” (While Tuts and I got clean and sober long ago or we would be long gone, recovery doesn’t change the past or the depth and longevity of the connection between and among kindred spirits)
We are intending to sail up to “The Foxes Tamarind” on Timmy’s 28 foot sail boat “The Star Gazer” Timmy (I should call him “Captain Timmy,” he’s had his Captain’s papers since he was 18) has been sailing these waters since he was a child. First on his family’s beautiful 48 foot, black hulled Ketch “The Shellback “and then on the mighty “Maverick” certainly one of the most beautiful awe and dream inspiring sailing ships to ever grace the harbor at Charlotte Amalia.
One of my earliest songs was about the Maverick.
Maverick Sailing On the tide
Maverick where are you bound tonight
With new born child below, blow ye winds oh blow
Keep them safe from rock and wave and blow ye winds oh blow
Maverick, take me for a ride
Maverick, I need a place to hide
From things I should not know, Blow ye winds oh blow
Keep us safe from rock and wave, and take us where we want to go.
We are all children of “Trader Dan’s” a St. Thomas, waterfront bar that drew and welcomed one and all, (including school children in our two tone uniforms and empty book straps).
There was no minimum drinking age in the Islands in those days (I had been buying rum on credit at the local shops for my mother and stepfathers, since I was six) and those of us with a predilection, or as the recovery materials put it “a predisposition to alcoholism” were blindly (no pun, I mean it) demonstrating what early onset familial (genetic) alcoholism looks and sounds (and feels) like. We were having the time of our lives.
As I’ve said, that any one of us survived (many, maybe most, didn’t) is really quite unexpected, but here we are sailing out of the lagoon, and east to Jos Van Dyke. We have all made this trip in many a vessel over the years.
One trip found Tim and Tuts and I in an ocean racing Donzi with my little twins Lelia and Archie, and their beautiful Mother Annie. We stopped at Sandy Cay” on the way up that day, and had to swim ashore with the little ones. Archie rode on Tut’s back like the Ginger bread man, and Twinkle rode on mine (yes, yes, they were wearing their little life vests) still it was so exciting for them that they have never forgotten, (their Mother has likely never forgotten either), What a beautiful and exciting windblown day that was, and what a beautiful and calming day this is, as we sail on little “Star Gazer”. Continued…
Book 2. Give Love A Chance…
In the Summer of 1966 I was living on East 60th street (just down from a wonderful little shop called “Serendipity”) under the wing of my extraordinary friend Roberta Wolfe, Roberta, was a high fashion, artist girl living on the top floor of, a classy three story Brownstone, owned by the Shubert family when she fell in with me.
She provided shelter, hugs and human kindness (as well as the brown paper bag that I wrote “Give Love A Chance” on.)We met at Steve Paul’s “The Scene” where I had become the house singer, and she was one of a number of hip New York artist chicks that looked amazing and created magic and excitement (like some pixie dust back draft) every where they went. The Scene was an exciting and very cool environment, full of young up and coming graduates of “Music and Art” (the New York City High School that “FAME” was based on) and hip cool creative folks from every discipline and inclination from London, LA. And everywhere in between. I was ahead of most of the up and comers, in that I had already been signed by Columbia Records, and was being managed by Doc Pomus and Mort Shuman, two living legends of Rock And Roll.
I was also an anomaly in that I was obviously a ruffian with no formal education who “sang like an angel” a hundred and twenty pounds of passionate pretty white boy from de Islands “who come tu change de worl mon!”
The extraordinary Roberta and I had a “best of pals” or “sweet pally hearts” or some such, or another “it’s complicated” kind of arrangement.
The primary complicating factor was that I was “in love” with four other girls, all of whom thought they felt the same about me. (One of them was”Pixie” the beautiful dreamer that was the inspiration for “Give Love A Chance”) Did I mention it was the summer of ’66?. …You can imagine the complications.
However, Roberta was also a kind of business partner, I was being managed and produced by Mort Shuman, (who along with Doc Pomus had written (among many others) “Teenager In Love” “Hushabye” “Sweets For My Sweet” “This Magic Moment” and “Save The Last Dance For Me” and yes, “Viva Las Vegas”) Roberta had taken on the “social secretary responsibility” for him of making sure that every thing relating to me and music and business, got done on time. Ah…the dear thing had her hands full.
As noted, I had written “Give Love A Chance” on a brown paper bag at Roberta’s pad and now we were about to record it along with “Tutsie” a song that I had written in honor of my good friend back in the Islands.
I was ultra serioso about the songs and the upcoming recording session (which was being produced at Associated Studios in NYC, by Mort and the great Kookoolis.)
So, finally we were at the point where the session was scheduled for 7:00 PM the next evening, In order to be rested and well prepared, I insisted on going to bed around 8:00 PM with my noggin and throat all wrapped up like Caruso. I had jars of honey and slices of lemon all over the place, along with pots of steaming hot water, and countless wrapping towels and wash cloths. In addition, I wanted at least an hour and a half in advance of “Taxi time”, to “tune up the pipes”
When I opened my peepers the clock said 6:30, I looked out the window and saw it was getting dark, I freaked out. I jumped out of bed, grabbed my battle-axe, flew down the stairs and started hailing taxis, with Roberta steps behind. We jumped into the first one to stop and in a panic I asked the driver, “what time is it, what time is it” He looked back over his shoulder and said, “It’s 6:30 in the morning Bub, whadindahell time do you think it is? Ah..the poor girl. Thank you Roberta for your many kindnesses and please forgive me for my own stupidities. I am sorry.
I had already done two other singles sessions before” Give Love A Chance” (One for Columbia with Wes Farrel producing, and the other for Big Top Records, with Morty producing) and numerous demo sessions, so I was not a complete novice, however this session was especially important to me, in that these were my own tunes, I thought “Give Love A Chance” might make some difference in the world, and I knew very acutely that my Mother and younger brothers were depending on me to rescue them from want. I was determined that one way or the other, I would come through for them…and the world.
There were a few things that ping ponged my noggin about the recordings. First, the third (and wrap up) verse of “Give Love A Chance” was eleminated before the record was released because the record (at 3:15) was considered too long for radio play, the ideal time for a single was thought to be 2:15, (I was told that the time preference was based on how many commercials you could fit into the hour..pero yo no se) Also,while I was a relatively experienced singer, I was new at recording my own songs. This created an odd tension for me in that the singer wanted to be free to interpret the song, but the writer felt it was paramount to demonstrate the melody exactly and verbatim.
On “Tutsie” you can hear this conflict very clearly; I just didn’t know what to do about it. The same conflict shows up again here and there on South Atlantic Blues. The solution ultimately, is to do a fairly exact song demo which then allows one the freedom to “sing it like you wanna” there after.
The recordings got me signed to BANG Records by Bert Berns ((He wrote Twist and Shout, Hang On Sloopy and many others) Bert was a really hot up and coming writer/record company owner music business impressario, I was one of three singer songwriters that he signed to his label at once. The others were Neil Diamond, and Van Morrison. The others had their breakthrough, but during the week leading up to my first release, Bert Berns had a heart attack and died. It was a sad sad day in the music business; Bert was well liked, and highly regarded, people expected great things from him, as did I…
The songs went on to be big jukebox hits in the V.I. Here’s “Give Love A Chance” and below it is “Tutsie” as first recorded in the summer of 1966.
Give Love A Chance
I know just where you’re at and what you’re going through
I know uncertainty has won the best of you
I know you’re lost, and all your friends are too
And when your crying and you don’t know what to do
You ought to..
Give Love a Chance to make you happy
and it will and it will
Give love a chance to make you happy
and it will and it will
When your tomorrows are the same as yesterday
And your belief in live has slowly faded way
When there’s no laughing or..crying anymore
There’s only sleeping and.. news about the war
You ought to..
Give Love a Chance to make you happy
and it will and it will
Give love a chance to make you happy
and it will and it will
And if you could things would be so much more than right
Every cross you’re carrying would vanish overnight
And the days of laughter and tears would come again
And to your surprise you’d be a winner in the end…
You ought to…
Give Love a Chance to make you happy
And it will and it will
Give love a chance to make you happy
and it will and it will
Here’s “Tutsie
And a skinny little fellow looks a little bit like me,
Lives on an Island in the Caribbean sea
And he drinks straight cane rum from an old calabash
And with those Island girls, lord he really is a smash
And he lives off the tourists with the greatest of ease,
Why I’ve even seen him selling bags of cool Island breeze
He lives high on a mountain in an old sugar mill
He wants to be a Pirate, I know someday he will.
He spends all his days cooling out in Trader Dan’s,
There’s no time for working in my friend Tutsie’s plans
He wears a pretty flower tucked up in an old straw hat
But if you should try to fight him, he’d show you where it’s at.
And he lives off the tourists with the greatest of ease,
Why I’ve even seen him selling bags of cool Island breeze
He lives high on a mountain in an old sugar mill
He wants to be a Pirate, I know someday he will.
I wish I were like Tutsie and could do as I please,
then I’d be barefoot at the Foxes’ Tamarindo
And I’d drink straight cane rum from an old calabash
And with those Island girls, lord, I’d really be a smash
And I’d live off the tourists with the greatest of ease,
And have fun selling bags of cool Island breeze
I’d live high on a mountain in an old sugar mill
And someday I’d be a Pirate, you know someday I will.
After realizing what I had done, I wanted to give the song Tutsie another opportunity to be heard, so I stuck it in the middle of La Beiga Carousel. Here’s the most recent recording of the medley as it appears in “The Virgin Islands Songs”.
La Beiga Carousel (From Scott Fagan’s “The Virgin Islands Songs”)
Man I would walk and drink rum de whole night,
before me go ride on La Beiga Carousel
Man I would walk and drink rum de whole night,
before me go ride on La Beiga Carousel
Come go home come go home Cecebelle,
tonight we’ain gon ride on La Beiga Carousel
Come go home come go home Cecebelle,
tonight we’ain gon ride on La Beiga Carousel
And a skinny little fellow looks a little bit like me,
Lives on an Island in the Caribbean sea
And he drinks straight cane rum from an old calabash
And with those Island girls, lord he really is a smash
And he lives off the tourists with the greatest of ease,
Why I’ve even seen him selling bags of cool Island breeze
He lives high on a mountain in an old sugar mill
He wants to be a Pirate, I know someday he will.
An’ I’ll walk and drink rum whole night,
before me go ride on Labeiga Carousel
Man I’ll walk and drink rum whole night,
before me go ride on Labeiga Carousel
And he spends all his days cooling out in Trader Dan’s,
There’s no time for working in my friend Tutsie’s plans
He wears a pretty flower tucked up in an old straw hat
But if you should try to fight him, he’d show you where it’s at.
And he lives off the tourists with the greatest of ease,
Why I’ve even seen him selling bags of cool Island breeze
He lives high on a mountain in an old sugar mill
He wants to be a Pirate, I know someday he will.
An’ I’ll walk and drink rum whole night,
before me go ride on Labeiga Carousel
Man I’ll walk and drink rum whole night,
before me go ride on Labeiga Carousel
And I wish I were like Tutsie and could do as I please,
then I’d be barefoot at the Foxes’ Tamarindo
And I’d drink straight cane rum from an old calabash
And with those Island girls, lord, I’d really be a smash
And I’d live off the tourists with the greatest of ease,
And have fun selling bags of cool Island breeze
I’d live high on a mountain in an old sugar mill
And someday I’d be a Pirate, you know someday I will.
Man I would walk and drink rum de whole night,
before me go ride on La Beiga Carousel
Man I would walk and drink rum de whole night,
before me go ride on La Beiga Carousel
Come go home come go home Cecebelle,
tonight we’ain gon ride on La Beiga Carousel
Come go home come go home Cecebelle,
tonight we’ain gon ride on La Beiga Carousel

