Elvis Presley Meets the Afterlife: A Southern Tale


Two Kings In A Caddie

The high desert at night is solitude. The velvet blackness holds wondrous things.

The “57” Caddie pulled away from the gas station, spewing gravel. The old man who had filled it up a few minutes ago watched until the tail lights disappeared down the highway. Two twenty-dollar bills for ten dollars of gas, go figure. A two-dollar bill was mixed in the bills; TCB was printed on the front. What did that mean?

The most comfortable place in the world for the aged singer was sitting behind the wheel of his beloved white Cadillac.  

He was not the sleek crooner in size thirty-six sport coats anymore; he didn’t care to be. He was comfortable in his own skin.  After decades of dieting, he surrendered to the siren’s call of biscuits, gravy, and his beloved peanut butter and banana sandwiches. Everybody gets a little heavy as they age, he told himself, and after seeing an old girlfriend in a supermarket trash magazine, he felt better about his expanding looks. The once sleek red-headed dancer was now as portly as himself. It’s a shame he couldn’t call her up. But then again, she loved the man he used to be, and he loved the girl she once was.

The decision to disappear in the late 70s was his way of escaping the hell he had created for himself. Drugs, alcohol, guns, crazy-ass women, and an army of hangers-on. The whole scene was sucking what life he had left from him. Realizing that if he was going live incognito, Las Vegas, Nevada, was ground zero. Every casino on the strip had Elvis impersonators. He could hide in plain sight.

To stave off boredom, he worked at one of the cheesy late-night wedding chapels for a while, imitating himself. He loved the irony of it all: having the wedding party cry and gagging with laughter, telling stories only the real Elvis would know. The patrons appreciated his stories and one-man karaoke performance, and he could still make a few young brides swoon.

At times, he became bone-weary and yearned to go home, but he knew that could never happen except in dreams. These long rides in the desert calmed him and allowed sleep without prescription drugs. He was clean now and was damn – straight going to stay that way.

The Caddies headlights illuminated the figure of a man standing by the roadside, thumb in the air. Elvis never picked up a hitcher, but a tingling feeling in his scalp told him he should stop for this one. Pulling over, he waited for the stranger to approach the car. The door opened, and a figure slid into the seat beside him. He turned to introduce himself.

An old man sat in the glow of the dash lights. His long gray hair was tied into a ponytail, and a neatly trimmed gray beard filled his face. He wore a loose-fitting red running jacket with matching sweatpants. His gold lame running shoes shined like bars of gold.

Elvis studied him briefly and then asked the old man, “I know you, mister, I’ve seen you on TV, aren’t you, Willie Nelson? What are you doing out in this desert this time of night?”

The old man turned and said, “No, I’m not Willie Nelson, and that’s a fine compliment, to be sure. I’m not going far, and it’s nice to meet you, Elvis.”

Speaking his first name as if he had known him forever, and his voice made him squirm. He hadn’t introduced himself.

In a slightly scolding, fatherly tone, the old man addressed Elvis,

“Young man, I’m shocked that a Christian boy like yourself from a first-class Baptist church in Tunica, Mississippi, would not recognize me. Don’t you find it strange that I know who you are? In fact, my boy, I know everything about you from the day you were born. I’m a little hungry, can I have one of those peanut butter and banana sandwiches hiding in your glove box?”

Elvis told the old man he was welcome to one, and there’s an ice-cold Pepsi in the cooler sitting on the back seat.

The old man pulled a soda from the cooler and then pushed the caddie’s glove box button. The door dropped down with a clunk. From inside came an angelic light that illuminated his face in a soft glow.  Elvis stared into the most striking blue eyes he had ever seen. Endless in depth, filled with kindness and forgiving, but tinged with a bit of sadness. The old fellow looked as old as dirt, but in that light, his features were as soft as a pastel portrait.

The old man sighed and, in between bites, said, “I appreciate the snack. It seems like I’ve been working for an eternity and have missed a lot of meals. All I do is go from one place to another, convincing folks to follow Dad and granting miracles. I was out here last week waiting for you, but that case of heartburn brought on by that Red Baron pizza laid you up for the night. You really shouldn’t eat that junk. Look at me, trim and healthy, all because of the Mediterranean diet. Can you imagine all those gals shooting themselves up with that Ozempic stuff just to stay thin?”

The old man smiled, reached over, touched Elvis’s shoulder, and said,

“ I’ve got someplace to be, and I want you to go with me. We can have a little visit along the way, a counseling session of sorts, no charge, it’s on the house. And by the way, when I’m down here, in this realm, I prefer to be called just plain old Sonny; it’s less frightening…puts people at ease.”

After driving for a while, Sonny turned to Elvis and said, “You know son, I play in a band when I’m home, and your name comes up often, the guys are always asking me when you’re coming up to join them.”

Elvis said, “That’s nice, sir; who might your band members be?” and where, exactly, is home?”

“Well, home is where my Father is; Heaven. You know, the pearly gates and such, sitting on clouds, the weathers good all the time, all of that stuff you read about.”

“You mean streets of gold and everyone lives in their own temple type of Heaven?” asked Elvis.

Sonny replied, “Well not exactly, the streets of gold were a real maintenance nightmare, so we went back to Jordanian river – rock. The temples were a little small, so we made some major changes right after Frank Lloyd Wright came up. Everyone now has a nice little place with a view of the garden…everyone’s equal in Dad’s eyes you know. Your Mamma and Daddy’s place is an exact copy of Graceland. Bet you didn’t know that!”

Elvis swallowed hard and said, “You’ve seen my Mommy and Daddy?”

“Well of course I have you nimrod. Didn’t I just tell you who I am and where I live. Don’t you listen!” replied Sonny.

Sonny clapped his hands on his knees and said, “Now, back to my band for a minute. It’s made up of the best musicians that ever lived.  Your old buddies Carl Perkins and Johnny Cash just recently joined up, and I’ve got Jimi Hendrix, John Lennon, and George Harrison on guitars, and Gene Kruppa and Keith Moon on drums, and I’m looking forward to Ringo joining up pretty soon. There’s Count Basie and Mozart on keyboards, Roy Orbison, Bobby Darin, Buddy Holly, and Old Blue Eyes on vocals. Man, that Orbison can hit those high notes…really ticks Sinatra off. Frank has a bad attitude about everything, always wanting to get the Rat Pack up and running again. Dad always sends him “down below” for a few days to keep him in line.”

Elvis struggled to comprehend what he was hearing. He knew all those dudes when they were alive, and Bobby Darin was a running buddy back in the day.

On a bit of a roll, Sonny continued, “Myself, I play a little bass sometimes if Noel Redding is busy greeting the British arrivals down at the gate.  John Lennon still claims it wasn’t Yoko that broke up the band; he swears it was McCartney’s doings, and old Ed Sullivan already has a Beatles reunion show planned, just waiting for the other two to show up. I told him it wouldn’t be too much longer, but it wasn’t a deal if he had that stupid little mouse puppet Popo Gigio on the bill.  I just wanted to squeeze him until his little eyes popped out. Puppets make me uncomfortable.”

Looking at the road ahead, Elvis was sweating like a lawn sprinkler. His mouth was dry as cotton, and he couldn’t catch a good breath. This was too much for him to digest at one time. Here he is, giving a ride to the Son of God. “Is this the way it’s supposed to be?” he thought, “Aren’t you supposed to see a white light and your loved ones coming to meet you?” Not the Lord telling you he plays in a rock band full of dead musicians and hates mouse puppets. Maybe he was having an LSD flashback.

Sonny turned to Elvis and said, “No, Elvis, you’re not having a flashback, and you don’t always see the light…and yes, I can read your thoughts.  Really, this is pretty much the way it happens. I make special provisions for people as needed, and you are a special provision type of fellow, so enjoy the evening.  I’m not saying it’s your time to come home to “my place,” but who knows. Take the next right up here; you’re going to like where we are going.”

Elvis turned the caddie down the dirt road and, after a mile or so, came to a ramshackle tin building. The exterior looked like an old military barrack, and over the door was a cheesy neon sign that read “Sonny’s Place.” No cars parked in the lot or tire tracks in the sand. This joint was really out of the way.

Sonny escorted Elvis through the front door, greeted by a kindly lady sitting behind a counter. Elvis noticed her name tag read “Patsy C.” When she saw Sonny, she said, “My Savior, how good to see you again; everyone’s been asking if you were going to come by tonight, who’s your pal?”

Sonny replied, “This is the famous Elvis Presley darling, but he’s not here officially yet, he’s just visiting for a spell, slap one of those silver wrist bands on him please.”

Elvis interrupted, “Excuse me sir, what’s the silver band mean?”

Smiling, Sonny said, “Oh, it means you can’t have the top-shelf drinks, can’t use the nice restrooms, and most of all it means you’re not dead yet…dig.”

Elvis understood all right, and that was okay with him. As long as he had not assumed room temperature.

When they walked into the main room, thunderous applause greeted them. Sonny humbly waved and nodded, and Elvis, slack-jawed and gob-smacked, stared at all the dead musicians and singers he had known.

On stage, Bobby Darin was kicking off “Mack The Knife,” accompanied by an all-star band of Jimi Hendrix, George Harrison, Mozart, Charlie Bird, Gene Krupa, Glen Miller, Harry James, and an entire horn section. Bobby saw Elvis and gave him a big smile and a thumbs up.

When the song ended, Bobby directed a spotlight to the small table occupied by Sonny and Elvis, and in that “oh so cool voice,” he announced, “Ladies and Gents, in the crowd tonight we have the one and only, my good friend, Mr. Elvis Presley, stand up and take a bow, E.”

The crowd went wild. Everyone was on their feet, applauding, and from the back of the room, a chant was growing, “Elvis..Elvis..Elvis.” A shaking, teary-eyed Elvis stood as best he could and acknowledged his peers….his dead peers.

Sonny touched his arm and said, “Go on up there, my boy, give it all you got.”

When Elvis walked onstage, the band came over and gave him a hug. His old friend Bobby held him the longest. Elvis grabbed the microphone, turned to the band, and yelled, “Viva Las Vegas in the key of G.”

Strutting, gyrating, not missing a note, the crowd dancing in the aisles, and Elvis was putting on the show of his life. His heart was so full of joy that he felt it would burst, and then it did.

As he floated backward, he felt hands engulfing his body, lowering him to the stage. He was aware of people standing around him, and then he saw a beautiful bright light, and from that light emerged his parents, who were leading him through a heavenly garden to a lovely copy of his beloved Graceland.

The musicians formed a circle around his body, heads bowed, quietly praying.

They parted when Sonny came on stage, and he knelt next to Elvis’s body. With his hand on Elvis’s forehead, he said, “Wake up Elvis, you’re home now.”

Chapter 16. The Weight of Goodbye: Johnny’s Regretful Return Home


Having made the painful choice to journey back to Texas, Johnny found himself in a heart-wrenching struggle, surrendering the opportunities that lay before him—holdings that promised riches within a decade. With a heavy heart and resolute spirit, he cast aside dreams of wealth, fully aware that the path behind him had irrevocably vanished, leaving only the words of “what have been.”

The lots on the edge of downtown Honolulu vanished in a few days to a dodgy speculator, who offered a fire sale price. The used car lot was sold to a former commanding officer with a firm handshake and a promise that money would follow when the last existing vehicles found new homes. Now, he was left with nothing but the relic of a pawn shop fiddle, a token of better days. He returned the instrument to the old Korean man, who was less than friendly, still smarting from the failed romance between his granddaughter and Johnny. He offered a few dollars, which was silently rebuked. Confident that his father had cared for his prized violin, it would be waiting for the bow’s stroke across the strings.

Johnny made his rounds to bid farewell. The Royal Hawaiian staff had treated him kindly despite his being a Haole. The folks at the Pearl City News and the companions of his musical venture each received a heartfelt goodbye.

On his last night in paradise, Johnny dined alone. Over the years, The Brass Monkey Tavern and its delicious seafood had comforted him. Pika, the native Hawaiian bartender, produced a special bottle from the top shelf. Tonight, there would be no cheap hooch for his valued Haole friend.

The bitterness of his embattled relationship with his mother touched every part of his soul. He knew full well that forgiveness, if it ever came, would be a long, winding road marred by the shadows of contrived intent. Knowing that his father was faltering added to his haste in his departure.

The troop ship to California was packed with weary yet hopeful servicemen returning from their duties. A loud hum of excitement hung thick in the air. For many, it was a moment to rekindle the flame of old lives or to carve out new paths. Yet Johnny was lost to his sadness and felt no thrill. His thoughts drifted to Blind Jelly Roll, Sister Aimee, and Le Petite Fromage, now back in Chigger Bayou. Their presence in his life had brought him great joy. He felt obliged to give them one final visit, knowing it would be the last in his lifetime.

Blind Jelly Roll, aware that his days were numbered, was grateful for the visit. His humor was intact, and he asked Johnny if he would like to ride in his new sedan, touting that his driving skills had improved since their last visit. Pancho Villa, the tiny demon dog, had only taken a soft nip on Johnny’s hand, but his lack of front teeth made the nip more of a gumming affair. Sister Aimee, angelic as ever, had transformed into a maternal figure for Jelly and promised Johnny that the old bluesman would find a nurturing and loving home until his final hour. Even that cantankerous dog would be cared for. Johnny saw something in her eyes; the looks she cast on the old man were more than motherly; he detected an inner fire that fueled her commitment. Farewells were exchanged. There were strong hugs, a few tears, and some laughs. The final, out-the-door goodbye was punctuated by promises to write.

That evening, Johnny boarded the Super Chief bound for Chicago, with a stop in Fort Worth. The journey would take three days and arrive in the morning light. He kept his arrival a secret from his family, anticipating the thrill of surprise. He sat cradling a cup of coffee on a wooden bench in the train station. He had gotten it from the diner. The lady behind the counter, dressed in a waitress uniform, reminded him of his sister. He missed Norma and was troubled by her not writing in almost two years. He knew something was wrong and would make it all right today. The night stretched long. He had come to find peace in books. He thought of Thomas Wolfe’s words, “You can’t go home again.” But could he? Would he be met by a marble angel on the porch or find only a locked door at the end of his journey?

Repost From PowerPop…An Eclectic Collection of Pop Culture


The A.T.N.T. Cobblestone Street

A friend of mine in the blogverse is a music historian. Max Gower has a blog on WordPress called PowerPop An Eclectic Collection of Pop Culture. Max and me have been trading emails and post for over two years and I greatly enjoy his side trips into the 60s music scene covering bands that maybe weren’t all that well known. Max has been writing about Texas rock music for a while now and found a few old interviews I gave many moons ago. I appreciate the shout out and hope you all enjoy his post as much as I do. Thanks again, Max.

A few weeks ago I posted about Mouse and the Traps, a Texas band formed in the 1960s. I thought my fellow blogger friend Phil from Notes from the Cactus Patch may have known them. He did…. so I thought…I would like to write about Phil’s 1960s band. I first heard of Phil from Hanspostcard… he sent me THIS link to Phil’s post about meeting John Sebastian in Texas in the sixties along with the other Lovin Spoonful. He also briefly met Janis Joplin when she cut the food line at the Texas International Pop Festival.  ” I survived one-hundred-degree temperatures for three days and got to meet Janis Joplin one late night when this nice gal with a Texas twang asked me if she could cut in line as I was waiting to buy a hot dog. It took a minute for me to realize it was her, but I was cool; it was the sixties, man. That night, ole Janis “took a little piece of my heart, now baby.”

I’m get most of the info from this post. I urge you to read that because he tells a more complete story.  Phil’s Dad, Johnny Strawn played with the Light Crust Doughboys so Phil was surrounded by music when he grew up. He went through a few bands on the way. He formed his first band in 1964 and they were called The Dolphins and in late 65 they became The Orphans. The Orphans lasted until 1967 and the members were Johnny Strawn, vocals and lead guitar –  Jarry Davis, vocals and rhythm guitar-  Danny Goode, lead vocals and bass –  Marshall Sartain, vocals and keyboards- Barry Corbett, drums and vocals.

The music they played was all over the place and everything that kept people on the dance floor.  The music they played was Soul Music, Beatles, Bee Gees, Rascals, Hendrix, Doors, Steppenwolf, Cream, Stones, Vanilla Fudge, and Jefferson Airplane.  They played all over Texas and parts of Oklahoma…and some of the clubs he mentioned were The Studio Club, LuAnn’s, Strawberry Fields, Phantasmagoria, The Cellar, The Box, and more. This was when three of the band were still in high school. 

Phil Strawn:  We used to do a lot of double bills at The Studio Club and LuAnn’s; that was a big thing back then. I remember playing a lot of them with Southwest F.O.B. We were playing at LuAnn’s one weekend when during the Jimi Hendrix song Fire, our drummer put lighter fluid on his cymbals, lit his drum sticks, then hit the cymbals and ignited them. It got a little out of hand and it burned up his drums. That kind of stuff wouldn’t fly nowadays, but back then, we didn’t think of the repercussions. The crowd loved it, sort of like The Who, only with real fire and smoke. Miss Lou Ann was not pleased and banned us from the club for about six months. We eventually worked our way back into her good graces. Ron Chapman the famous DJ on KLIF and KVIL remembered us as the band that nearly burned down LuAnn’s. Some legacy.

They met a guy named Mark Lee who became their manager. After they signed with him their gigs increased. They even opened up for Iron Butterfly at a place called Strawberry Fields. The Orphans committed a cardinal sin by learning an Iron Butterfly song called Possession and nailed it while opening for Iron Butterfly. Lee put them up to it because he knew it would get under Iron Butterfly’s skin…and it did! They ended up swiping Phil’s Vox Wah Wah pedal and a velvet Nehru suit from their drummer. 

In 1968 they had to change their name. The drummer, Barry Corbett, had a friend, Jerry Deaton who wanted to manage them but they were happy with Mark Lee. The guy went out and had “The Orphans” copyrighted and told the band he would sue them if they continued so they changed their name. Phil said: “We liked ATNT {Alice talks “n” talks} and Jerry’s mother was the inspiration for that name. Later, we found out that he had managed another band called the Orphans for a while, so that was the reason for all the drama. He copyrighted the name so we had to change.”

Check out this 1968 Flower Fair entertainment. ATNT played and look at the other artists as well. Spencer Davis, Jimmy Reed, Mitch Ryder, The Lemon Pipers, and Neil Diamond. The Doors were going to play but they had scheduling conflicts. 

ATNT Scedule

In 1966 they recorded a song that Phil wrote called “Leader of My Mind” which was a Byrds-type song with harmonica but no one can find any copies. In 1968 they recorded two songs called “No One Told Me About Her” with the flipside Cobblestone Street. 

They also did a couple of appearances on Mark Stevens TV Show which they lipsynced to their songs. Phil quit in the late sixties because of a disagreement with the rhythm guitar player. He had to make a choice and his final exams were coming up and Phil decided to study rather than just practice with the band. 

After that, Phil said he didn’t play much until around 1974 when he started to play in the progressive country music scene in Austin and Dallas. I played with various people around town and some in south Texas and did some pick-up and studio work. I joined the Trinity River Band in late ’79 and played with them until ’85. I also played with The Light Crust Doughboys from time to time and did some studio work on the five-string banjo. I was fortunate to play on the Light Crust Doughboys album, ” One Hundred-Fifty Years of Texas Music.” 

The A.T.N.T. Discogs page. 

Phil StrawnThe A side is “Cobblestone Street,” written and sung by myself and our drummer Barry Corbett. The B side is ” No One Told Me About Her,” written and sung by our lead singer and bass player, Danny Goode. The two producers, Marvin Montgomery and Artie Glenn, suggested we add horns to get a Chicago Transit Authority sound. Before the brass was added, Cobblestone Street was loud and raw with loud guitars and organs. After adding the horns, we returned to the studio and tweaked the cuts. I purposely untuned my Gibson 335 a bit to give the guitar break a bit of an out-of-tune carnival sound. Marvin, who went by the name of Smokey, was a member of the Light Crust Doughboys since the 1930s and played with Bob Wills. He produced Paul and Paula and Delbert McClinton. Artie Glenn wrote the famous Elvis hit “Crying In The Chapel” and many others; he was also a Light Crust Doughboy western swing musician. These two men were top-shelf record producers, so we listened when they suggested

Phil Strawn: It was absolutely the best time of my life. How could you not enjoy being a teenager in the ’60s and playing in a popular rock band? The people we met and played with, the experience that we will all carry with us the rest of our lives. It was just a part of life that helped shape us into what we are now – being part of that change in our country, that decade. It was a time of turmoil, but it was also the last year of the innocence we grew up with. Teenagers these days are so hardened. The music then was happy and said a lot. It would move you, whether you played it or danced to it. The music now has a meaner, harder edge, and reflects the times we live in.

Phil Strawn: I am a project manager in commercial construction, and do a lot of painting and artwork – mostly Texas art. After 35 years, Danny Goode, who I played with in ATNT and the Orphans, called me and asked me to be part of their group, The American Classics. I joined them about two years ago and that’s what we do nowadays. The band consists of Danny Goode, bass and lead vocals; John Payne, lead guitar and keyboards; Jordan Welch, drums; and me on rhythm guitar and vocals. We play about once a month or so around Dallas Fort Worth, mostly private parties. We recently played in Deep Ellum, and will probably be back down there soon. We stick to mostly ’60s music – it’s what we know well. It’s good to still be playing rock music at this age. You really never outgrow it.

I love the horns in this song but I would also love to hear what it sounded like with loud guitars as well. 

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Author: Badfinger (Max)

Power Pop fan, Baseball, Beatles, old movies, and tv show fan. Also anything to do with pop culture in the 60s and 70s… I’m also a songwriter, bass and guitar player. View all posts by Badfinger (Max)AuthorBadfinger (Max)Posted onCategories1960sBandsGarageMusicSinglesTagsA.T.N.T.Cobblestone StreetPhil Strawn

39 thoughts on “A.T.N.T. – Cobblestone Street”

  1. Pingback: A.T.N.T. – Cobblestone Street – MobsterTiger
  2. Carl Benson, Jr.says:What a ‘bill’ that was! I would’ve gone to see Mitch Ryder & his band & Neil Diamond.Liked by 2 peopleReply
    1. Badfinger (Max)says:It does sound like a great one. That was the time to grow up for music…LikeReply
      1. Carl Benson, Jr.says:Ya’, I was 4 years old then or going on 4 but I have always loved that era of ‘Pop’ music. I love that debate on what decade was the best & the 60’s are up there…I think the 80’s myself, but I’m biased lol.Liked by 1 person
      2. Badfinger (Max)says:I was weird Carl…I grew up in the 80s….turned 13 in 1980…I didn’t like the synth stuff and the fake drums….they still drive me up the wall… I was mostly listening to the 60s during the 80s….Now…thats not to say that I don’t like many songs from the 80s….I liked the Heartland Rockers like Mellencamp, Springsteen, Petty, and others…along with The Replacements, REM and Prince….in other words…bands and artists with guitars!Liked by 1 person
      3. Carl Benson, Jr.says:Awesome…I think that I mentioned before that when I was a kid my Dad was in the music business when after we moved to Ft. Wayne in ’67 & my little brother was born later in that year. Both of my parents were college graduates from ’63 & ’64 so they were hip parents. They put a radio & a television in my brother & I’s room (bunk beds) so we could chose what we wanted to watch & hear. He had a television show on what became the PBS station which was a 1-hour music show (R&B) & he & a fraternity brother owned a nightclub & were managing groups. So I got to hear a lot of R&B as a young kid & meet some of those folks who did his show. But, I always had an earl for ‘Pop’ music & when we moved to Idaho in ’74 my buddies were into the other side of ‘Pop’ & of course guitar based ‘Rock & Roll’. I graduated from high school in ’82 & had been listening to a lot of 60’s music (& funk) my jr. & sr. years & then I got the bug for synthetic dance ‘New Wave’ music. Thompson Twins, The Human League, The Talking Heads, The Tom Tom Club, The B-52’s etc., I was always a ‘Minneapolis Sound’ dude. I always heard from my musician friends that they hated ‘Tech’ back then with the electronic drums & stuff & I can appreciate that Max. I generally loved the ‘Moog’ sound then…I was into dancing back then.Liked by 1 person
      4. Badfinger (Max)says:See I liked The Talking Heads and The B-52s…so there were a few I liked…yea the Minnesota sound was huge…Prince, The Replacements and others came out of there.
        Also Carl…it’s normal for teens to like the era they grow up in….so like I said…I was wierd…I liked the timeless sound.
        You grew up in the perfect time Carl! You got to experience the best of the 60s – 80s in real time! Plus your parents sound great dude.Liked by 1 person
      5. Carl Benson, Jr.says:Ya’, I remember that they had ‘hippie’ friends that were white folks before we moved to Idaho when I was 10 in ’74. My little brother & I had an unusual childhood for a couple of black kids in our era Max. That’s why my musical tastes are so eclectic Max.Liked by 2 people
      6. Badfinger (Max)says:And that is a great thing Carl! I think it’s rewarding to be eclectic.Liked by 2 people
      7. Carl Benson, Jr.says:Dig it Max…you too…sometimes it is…lol.Liked by 1 person
  3. newepicauthorsays:One of your longer posts Max and I thought it was interesting learning about this obscure group.Liked by 1 personReply
    1. Badfinger (Max)says:Yes I usually don’t go this long but Phil was in some interesting spots and bands. He knew a lot of those Texas bands that did have some hits…plus I was in one of those local bands two decades later…heck…may do mine one day!Liked by 1 personReply
  4. glyn40wiltonsays:Light Crust Doughboys was a great name for a band. I liked the list of the groups they played songs of in their set.Liked by 1 personReply
    1. Badfinger (Max)says:Thanks Glyn…they were a country band legend.Liked by 1 personReply
  5. Davesays:Great post Max! It’s so cool that one of our online friends has such a great musical history. I’ve heard that ‘Cobblestone Street’ before…it’s very ’60s but very agreeable. Sounds very British Invasion to me, I wouldn’t have pegged it as being from Texas. Phil makes a good point about how rock, and teens, then were so much more optimistic than nowadays.
    Phil, good job and if you have the b-side, hope you let us hear it!Liked by 2 peopleReply
    1. Badfinger (Max)says:I loved when they opened for Iron Butterfly and then played one of their songs! LOL. That takes guts and I’m glad they did it.LikeReply
    2. obbversesays:Agree with all you say here Dave. And I really do believe for a lot of the kids teen years (these days) are more a journey of joy and learning than a rite of passage.Liked by 1 personReply
    3. obbversesays:Sorry Dave, less joy, more passage! Doh! (Note to self; Proof read, O.)Liked by 1 personReply
  6. randydafoesays:Well I knew a bit of Phil’s musical past and this post is a great enhancement. I agree with Dave on that British Invasion sound for sure.Liked by 1 personReply
    1. Badfinger (Max)says:I played 2 decades later but I can relate to this…I mean every successful band usually starts out like this…sometimes it just works out but most of the time it doesn’t as far as the big time….but it keeps music alive in communities across the globe with local bands….yes it’s very sixties.Liked by 1 personReply
      1. randydafoesays:Yes I am sure this is very close to home for you. I probably mentioned by oldest brother is a bass player and while he did play with some recording artists he never ended up on one himself. He has played in bands for over 50 years and still does, but he does it for himself, because he loves it. So these stories are in some ways a vicarious look that scene.Liked by 1 person
      2. Badfinger (Max)says:I tell people…once you learn music you keep it for the rest of your life. You don’t have to be famous…but no one can take it away from you. The only recording artist I played on the same bill with? The Royal Guardsman in the late 80s early 90s…lol…but hey it still counts! Our claim to fame was outdrawing Richard Sterban (singer for the Oak Ridge Boys) at a theater….we played a week later….lol.Liked by 2 people
      3. randydafoesays:Hey you take what you can get Max!Liked by 2 people
      4. obbversesays:Max mentioning the Royal Guardsmen- Christmas and ‘Snoopy’s Christmas’ must be on the horizon!Liked by 1 person
      5. Badfinger (Max)says:It’s gotta be! I never thought of posting that one…but I must now.Liked by 1 person
  7. obbversesays:Love these ‘I was there’ bits of history. Phil sure got around, and what a great decade to grow up in. And as for Phil- letting Janis grab what should have been his hot dog, rubbing shoulders with John S, rubbing Mike Love the wrong way- great stories.Liked by 1 personReply
    1. Badfinger (Max)says:Yes they are… I can’t imagine meeting those people especially Janis…he said she was really tiny in person…
      Opening up for Iron Butterfly…pretty cool and having your wah wah pedal stolen by their crew…not cool!Liked by 1 personReply
      1. obbversesays:Well, with Iron Butterfly, they weren’t exactly your easy-going peace love and pass the reefer 60s band, or so I’d imagine, going by their sound. (PS, I’ll be mentioning ‘Snoopy’s Christmas’ in an upcoming musically related post soon. Music and Christmas carols based? Yes. Harmonious and in the best spirit of Christmas? Nooooo.)Liked by 1 person
      2. Badfinger (Max)says:Cool… I will soon echo Snoopy…
        I would not expect any other from you…I would be quite dissapointed if you showed too much cheer…obbverse sellout? Never.Liked by 1 person
  8. cincinnatibabyheadsays:I’ll echo Dave and say “Great post”. Phil covers a lot of territory (He’s from Texas. Makes sense). I’m sure I could spend an evening hanging with Phil and be entertained on a lot of levels. Lots I like, his sense of humor not the least. Enjoying the listen. Blue ribbon post Max and PhilLiked by 1 personReply
    1. Badfinger (Max)says:Thanks CB…it’s much longer than I wanted but to get everything in it had to be. Hanging out with Phil for a while would be really cool.Liked by 1 personReply
  9. Christian’s Music Musingssays:It sounds like Phil Strawn has met many interesting artists and has some intriguing stories to tell. “The Cobblestone Stone Street” is a great song. Perhaps not surprisingly, I had never heard of A.T.N.T. before.Liked by 1 personReply
    1. Badfinger (Max)says:Yea…Phil has some great stories… his story about meeting the Lovin Spoonful is great…and opening up for Iron Butterfly was really cool as well.Liked by 1 personReply
  10. Phil Strawnsays:Max, thank you for the great write up and kind words. It does my old heart good to hear from so many of your followers that dig the 60s sound. I happened to be in the right place at that time and it all fell into place. My friend, Danny Goode who I played with back in the 60s and again in the 2000s lives in Granbury too. We hung up the axes in 2019 after a 19-year run with The American Classics Band, doing much of the same music we played back in “the day.” Thanks again, Max.Liked by 2 peopleReply
    1. Badfinger (Max)says:Phil, I just hope I got it mostly right for you. I want to thank you for letting me do it. I had a good time writing it. We might not have been in huge bands that had a lot of hits, but we entertained a lot of people and that is what matters plus the the adventures we got out of it. Thanks again, Phil.Liked by you and 1 other personReply
      1. Phil Strawnsays:You are welcome kind sir. We all have to admit that after doing live shows for a while, it brings out the hambone in all of us. I can’t recall a time that I was nervous onstage except the time my Fender amp blew a fuse and I didn’t have a spare, now that was scary.Liked by 1 person
      2. Badfinger (Max)says:I wasn’t nervous either except for my first gig but it went away quickly. THAT would be scary. Our lead guitar player’s amp went out so I plugged him into mine and we shared…not a great sound…but the show went on.Like
  11. Nancy Homlitassays:Your music bio of Phil Strawn was a thoroughly enjoyable read, Max. Of course, I’m partial to 60’s music and can appreciate how good “Cobblestone Street” is compared to other songs in that genre. You did a good job making Phil appear to be a focused and serious musician. We both know he’s a crazy fun-loving hoot! 🙂LikeReply
  12. Aphoristicalsays:I like the Iron Butterfly story!Liked by 1 personReply

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Unraveling the Vanishing Girl of Marfa


Marfa, Texas, is one leg of the infamous Texas Triangle. Alpine, Fort Davis, and Marfa make up the redneck Bermuda Triangle and all the oddities that spring from its lands.

Momo and I have visited the quirky town a few times and plan another trip, perhaps in December. On our last trip, sitting in Planet Marfa, sipping a Lone Star beer and listening to the locals spin yarns and tall tales about the goings-on around the Chihuahuan Desert. We learned of nuclear-crazed killer Chihuahua dogs, strange lights in the mountains, the ghosts of James Dean and Liz Taylor at the Piasano Hotel, and enchanted horned toads that grant wishes. The young’uns that have relocated from Austin only add to the weirdness of the place.

The one story that folks were reluctant to rattle about was the young girl who vanished from her family’s desert home in 1965. She strolled into the desert behind their home to collect grasshoppers and other insects for a science project and never returned, and not a smidgen of evidence was ever found. A few days later, the parents noticed her prized acoustic guitar was missing from her bedroom, and their pet Longhorn steer, Little Bill, was missing from his stall. The girl often led him out into the desert to graze on the clumps of tasty grasses and plants. Lawman worked to solve the case for two decades, but no leads or culprits were found. Word around town was that space aliens had abducted her and the steer for scientific purposes or worse. No one thought much about the theory since Marfa loved that nonsense.

Sagebrush Sonny Toluse, the Grand Pooh-Bah of all things Marfa, tells the best version of the story. He said to a group around the bar,

I was walking my old doggy for his nighttime constitution. I live just outside of town, nearly in the desert, and that’s how I like it. The moon was full, so Rufus and I walked a little farther than usual. I hear guitar music from somewhere. It’s not a loud electric guitar but a soft one, like a Mexican guitar. It’s getting closer, and now I hear singing, the floating voice of a young girl. I stop, turn around, and passing by me; no more than ten feet is this little girl riding a Longhorn steer, playing the guitar, and singing an odd song I didn’t know, something about a Kay Serra or something like that. Behind her, sitting on the steer, is a giant grasshopper about half the size of the girl. I know we have big bugs here in Texas, but this critter was massive, about the size of old Rufus, my dog. The trio rode past me into the fading desert, never paying any attention to us. I was troubled by the encounter, so I went and asked the older sister, who is now an old woman, about the young girl who vanished so long ago. I told her about the ghostly encounter in the desert. She said her sister often rode the Longhorn steer like a horse and would play her favorite tune while sitting atop the beast. It was a Doris Day song, and she sang a bit. “Que Sera Sera, whatever will be, the future’s not ours to see, Que Sera Sera. “

Chapter 14. From Homesickness to Harmony


After two months in Hawaii, homesickness crept in. Johnny missed his music and his string band, Blind Faith. His prized fiddle stayed behind, locked away in the hall closet. His father assured him that it would be well cared for.

Norma, his sister, wrote each week; her letters were either sharp with bitterness, primarily toward their mother, or filled with hilarity about life at home. His dog, Lady, lingered in his thoughts, her absence a weight; she is old and might not be alive when he returns.

Once again, in the clutch of her elixirs and perhaps something more potent, his mother continued her assault by missives. Johnny read a few, sensing something wrong. She sounded unsteady, lost. Her words were jagged, and he promised himself no more. He would not carry the burden of the guilt she heaped upon him. Her pen was poison.

A music store sold him a fiddle for ten dollars. The owner was an old Korean man who made a few adjustments, adding new strings and setting the bridge and sound post just right. It did not sound as sweet as his own, but now he had a fiddle, giving him a spring in his step. He needed musicians. His commanding officer, walking by the barrack, heard Johnny practicing. Whenever he had spare time, he sat on a wooden crate under the shade of a Koa tree behind the barracks, entertaining the birds perched in the tree. The officer from the South Texas town of Corpus Christi offered to connect him with musicians he knew. True to his word, two sailors came to Johnny’s Quonset Hut the next day. One was a guitar player named Jerry Elliot, a fellow Texan, and the other was Buzz Burnam, who played the doghouse bass fiddle. Buzz, a Western Swing musician from Albuquerque, knew a few other musicians who might be interested in jamming. They set a practice day and time to meet under the Koa tree. Johnny’s homesickness eased a bit.

A letter from Le’Petite Fromage gave Johnny another lift. She and her husband, Montrose, the trumpet player from Sister Aimee’s orchestra, had a baby child named Savon, an old Cajun family name. They planned to stay in Chigger Bayou, and she would sing in her father’s band if and when he returned from California. Her mother, Big Mamu, said life was better without him underfoot. She had told Johnny many times that girls in the Bayou are expected to be married with a child on each hip by the age of eighteen. Tradition got the best of her. Blind Faith was finished. It was a good run while it lasted.

Sunday was a day for rest, even amid the chaos of war. The sailors moved through the day with light duty on the Sabbath, their shoulders eased, and their spirits lifted after a good dose of religion found in the island’s many churches. After lunch, the two musicians arrived, bringing two more as promised, one bearing a saxophone, the other a snare drum with one cymbal. They played, and the music flowed—Western swing, big band, island tunes. It went on for hours. They were asked to play at the Officers Club in the Royal Hawaiian Hotel a few days later. The pay was meager, but they were musicians, and they knew the worth of their work was in the joy it brought, not the currency it earned.

A letter came from Sister Aimee McPherson. It told Johnny about Blind Jelly Roll. He had been hit by a car. The new seeing-eye dog, following barking directions from the blind Pancho Villa, led them across a busy street. They walked straight into the path of a vehicle. Everyone survived, but Blind Jelly Roll broke his left arm. His hand was crushed under the tires. It seemed unlikely he would ever play the blues again. She would keep him on as the music director and spiritual advisor. She loved that old black man and his ill-tempered Chihuahua deeply.

Sometimes, good luck strikes like lightning hitting the same ground. Johnny felt it. His C.O. asked him to help with the weekly base paper. This led him to work at the Pearl City News when off duty. He became the leading writer. Two sailors he knew were on staff, too. The pay was little, but he saved every cent until he had a decent stack of bills. He rented a lot in downtown. Then, he bought two used cars from an officer. They sat there for sale. The drugstore next door took names for those who inquired, and Johnny made appointments to sell. Two cars turned to three, then five, then ten. Two young Hawaiian boys washed them twice a week. Johnny sat beneath a small canopy that served as his office. He sold cars, saved money, bought more, and eventually acquired the lot and four more on that block. In a year, he owned a few small buildings and all remaining vacant lots—almost an entire city block in east downtown Honolulu. After his Navy discharge, he rented a room in a house owned by the old Korean man who owned the music store. He was taken aback when he met the man’s young granddaughter, who was his age. They both sported arrows in their backs, shot by the mythical fairy, Cupid. Returning to Los Angeles was now out of the question.

Beware Of False Idols


Taylor Swift is back in the news—not that she ever left. I was hoping that her knuckle-dragging boyfriend would have married her by now, moved to a tar paper shack in Appalachia, and kept her barefoot and pregnant. No such luck. The millions of her lemming-like young fans have been breathlessly awaiting her choice for president. The anointed swift-one dropped it on social media. She is supporting the Harris Walz duo. Does she not understand that more than half of America is conservative and controls the purse strings of their children, her fans. Ali wants the new Taylor Swift album priced at forty dollars. I think not. Crafty marketing has turned her into a money machine. She knows the power she wields with the pre-teen and teenage girls. They have made her a billionaire. A tall, leggy blond who writes and sings cartoon music, perfect for a Saturday morning children’s show. Millions of young girls hang on to her every word and march like soldiers to her orders. Say something wrong about their golden idol, and they will unite and come for you in the middle of the night.

Somewhere in Kansas

A quiet suburban street, older homes, well-kept with tidy yards. The car in the drive is going on at ten years old, and the pickup parked next to it is a year older. The mother works at Walmart, and the father is an auto mechanic and a volunteer fireman. Blue-collar, over-taxed, middle-America Christians. Their thirteen-year-old daughter, a swifty, which is what her cult following calls themselves, walks into the kitchen where her parents are seated at the breakfast table, shuffling the monthly bills in two stacks: pay and don’t pay. They are counting their dollars and now counting coins, hoping to have enough to pay for the groceries for the week. In a snotty know-it-all tone, typical for her age, the daughter, in a demanding tone of voice, tells her parents that they must vote for Harris because Taylor Swift endorsed her, and they need to give her five hundred dollars for a ticket to her show next month because Taylor says all Swifties must unite.

Her father looks at her and says, “We are in a financial squeeze, young lady, so to pay the bills and buy food, I will need your iPhone right now, and I am canceling your subscriptions to Spotify, iTunes, your phone service, and the internet. You will also need to get an after-school job, or drop out and work full time, your college fund is no more, we had to use it to pay the mortgage and for your braces. That nice car you wanted for your sixteenth birthday, well, that’s not going to happen. Now, since you are united, call Miss Swift and ask her to send you a check.”

The Journey to Bakersfield: A Lively Tale of Struggle and Triumph, Chapter 9


My grandfather, John Henry, possessed a mastery of storytelling that filled the room with warmth. When the rain beat against the windowpanes, or the ice or snow kept me inside, I’d perch myself on the floor near his rocking chair, mesmerized by the tales of his youth in rural Texas, his days as a soldier in the US Army, and the harrowing battles in France. With each word, he painted vivid scenes of the struggle and resilience of his family during the tumultuous depression years in 1930s California. Pausing only to adjust his fiddle, John Henry would then draw the bow across the strings, filling the room with a lively jig that seemed to echo the resilience and spirit of those days and family members long ago passed on. When my grandfather passed, my father, as any good son would do, took the helm, recounting those years in California and beyond. A few drinks of good scotch whiskey for us both lit up his memory and released his vivid imagination. The more scotch we consumed, the more colorful his recounts, so parts of this story may be a bit grandiose.

Bringing Blind Jelly Roll Jackson and Le Petite Fromage into the string band’s musical circle infused the fellows with newfound assurance. John Henry found himself utterly taken aback by their musical prowess.

Johnny and the string band continued to improve with each passing week. After six months of playing front porch shows, birthday parties, a few illegal chicken fights, and one funeral, W6XAI Bakersfield, the most influential radio station in California, came calling. The station approached the band with an offer to perform a thirty-minute live show. Le Petite’s Daddy, Baby Boy Fromage, used his questionable connections to secure the band’s spot on the show, as his own band, The Chigger Bayou Boys, were regulars on the hillbilly program hosted by Colonel Bromide A. Seltzer. The esteemed Colonel was famous for featuring the latest talents on his popular daily show, always staying on the lookout for fresh and promising acts he could sign to a strangeling management contract that left him flush with cash and the talent with a pittance. Blind Faith fitted his bill.

Baby Boy Fromage arranged for transportation to and from Bakersfield. The radio station had agreed to pay the boys $75. 00 for the show, which included four commercials for Father Flannigan’s Holy Healing Tonic, Sister Aimee’s Blessed Miricle Face Cream, and Puffy Cloud Lard. In today’s world, that kind of money might buy you a mediocre supper at an Olive Garden, but in the Depression years, it was a small fortune. Of course, Baby Boy would require a chunk for providing the transportation and a meager finder’s fee for getting the band on the show. All said and done, Blind Faith would make $40.00 cash to split six ways. Le Petite had warned the boy that her father’s deals can sometimes border on nefarious, so don’t cry like a freshly born titty-baby if the whole thing flushes down the toilet.

Around noon on Saturday, the stagecoach to Bakersfield arrived at the Strawn residence. Le Petite’s daddy had promised luxury transportation for the haul to Bakersfield. Baby Boy’s idea of a luxury transport was a converted Tiajuna Taxi, complete with no less than a hundred bullet holes along each side of the vehicle. Two church pews nailed to the wooden floor served as seating, and the big stain on the floor was likely blood. The driver was a Mexican chap who didn’t speak English and drove with a bottle of Tequila planted in his lap. His GPS was a ratty map with the route colored in red crayon. Le Petite was furious with her daddy and planned to smack his big head with a *cajun blamofatchy.

Arriving at the station, the band was led into a large room where the broadcast would take place. A small stage covered with short nap rugs and a half dozen microphones placed where each musician would stand. Another band, The Light Crust Doughboys, from Fort Worth, Texas, was packing up, having completed their live show for their sponsor, Light Crust Flour. They were in Hollywood to be in a Western movie with Gene Autry, and this was their last commitment before heading back to Texas. Johnny spotted their fiddle player, made a bee-line over, and introduced himself. The man, Bob Wills, a fellow Texan, wanted to hear youngsters play, so he stuck around for the live show, which was due to start in twenty minutes. The radio technicians placed each member in front of a mic, giving Le Petite her own microphone for singing. The band played 16 bars of music so the man in the sound booth could adjust the volume. Bob Wills sat in a corner, smoking a cigarette and drinking what appeared to be a pint bottle of hooch hidden in a brown paper sack.

The two announcers, a heavy-set fellow wearing a black cowboy hat and his companion, a boney, skittish little gal, also wearing a matching cowgirl hat and white boots, took their positions in front of a microphone next to a nervous Le Petite. The man told the band that when that light on the wall turns from red to green, that means we are live, and you start your theme song while we announce you and our sponsors. Jelly said he couldn’t see the light, but Pancho Villa would give him the queue. The announcer asked Johnny if that man was blind? Johnny said, “Yep, blind as a bat but he’s a pretty good driver and got us here in one piece.”

The boys had no theme song, so Jelly told them to play Red River Valley: You can’t mess that one up. The man at the mic counted down, the light turned green, and the boys let loose on their new theme song. All the time, the two announcers were jabbering about their sponsors.

The announcers stepped back from the microphones and gave the boys a thumbs-up to start their show. Le Petite counted off a cajun song about a “Big Mamou” and went into “Will The Circle Be Unbroken” and then “Cold Beer and Calomine Lotion.” The band played every tune they knew, finishing up with Johnny playing a fiddle tune called “Lone Star Rag,” which caused Bob Wills, with a big grin on his face, to rise from his chair and clap along. When the show ended, Bob gave Johnny a few pointers, telling him he had a bright future in country music and to get in touch when and if he returned to Fort Worth. Fifteen years later, back home in Texas and playing country music for a living, Johnny got in touch with Bob Wills, who became his mentor and close friend, gifting Johnny with one of his fiddles, which he is playing in this photo. I have that fiddle as well as my grandfather’s fiddle.

My father, Johnny Strawn playing twin fiddles with Bob Wills. Forth Worth, around 1952.

  • * Cajun Blamofatchy is a piece of wood use

Chapter 6. California Dreamin’


New friends, a fresh vocation, and a fine abode for an extended stay. The Strawns couldn’t reckon their good fortune. Were they in the midst of a reverie, or was it a heavenly intervention from on high? My grandmother continued casting glances over her shoulder, half-expecting to glimpse the Guardian Angel who was running this show. Sister Aimee and her mammoth church would require some acclimatization, at least on John Henry’s part.

After the church service, which was more of a Hollywood show than a religious sanctuary, John Henry ambled backstage in search of Blind Jelly Roll Jackson. He rapped on a door marked “orchestra,” but receiving no response, he turned the unlocked knob and proceeded inside. There sat Jelly Roll on a red velvet setee while Sister Aimee fervently laid her hands on his cotton-top head, offering a vigorous prayer of salvation. Pancho Villa stood behind her, firmly attached, growling like a small lion and tugging hard at the bottom of her satin robe. Upon catching sight of John Henry, Sister Aimee hollered,

“Clear out, sinner! Can’t you see I’m rescuing this wretched man’s soul?” John Henry promptly shut the door and made his way back to his family, wanting no part in the strange affairs of that place. This church wasn’t through with him quite yet.

Two weeks into his new job, John Henry felt comfortable enough to open the case of his fiddle. During his time in Texas, he had earned the reputation of a “campfire fiddler,” skilled enough to keep up with any string band in Fort Worth. Nevertheless, this was not the path he aimed to follow. For nearly two years, Young Johnny had shown a deep interest in mastering the art of playing the instrument. The time had come to pass on this skill to the eager young man.

A visit to a local pawn shop produced a fifth-hand fiddle. It wasn’t much of an instrument, but for $5.00, case and bow included, it was good enough for the boy. Johnnie, when given the instrument, almost keeled over from joy. He took the fiddle to his back porch bedroom and began to torment every dog and cat in the neighborhood with his playing, which was more screeching than music.

Miss Angel Halo, a retired high school music teacher, resided a few houses away. She recognized that sound, having heard the screech of strings from her students for most of twenty years. Her Basset Hound, Baby Dog, cowered beneath the back porch while her feline companion, Miss Greta Garbo, made a hasty exit to escape the noise. Miss Halo made her way to the offending house and exchanged pleasantries with the Strawns. Over a cup of coffee, some neighborhood gossip, and a large slice of warm bundt cake, she offered her aid in schooling young Johnnie in the ways of musical notation and the art of the violin; she was a cello player herself. If the boy would mow her grass twice a week, and pull any pesky weeds in her flower beds, she would instruct him in learning the instrument.; no charge. The pact was sealed, and harmony was restored to the neighborhood.

Six weeks into his son’s tutoring, John Henry, not having heard the boy play, was curious if he had learned to play the fiddle. At his teacher’s insistence, Johnnie’s practice sessions were daytime only, and he was confined to the garage, door down, so as not to upset the neighbors.

Saturday evening found John Henry on the front porch, nursing a cold beer and coaxing a few tunes from his beloved fiddle. He asked Johnnie to fetch his instrument and join him, and in a swift instant, the boy returned, fiddle in hand, eager to display his skills to his father. To John Henry’s amazement, as he played an Irish jig, his son effortlessly intertwined harmonious notes with his own, giving the old man a partnership in the form of twin fiddles. A father’s pride has no bounds, and he played on, ignoring the tears on his cheek. In time, that instrument and the dreams of a child would take young Johnnie to the pinnacle of country music.

More to come in Chapter 7

Chapter 5. Life In California And Jelly Roll


Moving day from the migrant camp fell on a Saturday. There wasn’t much to transport apart from the car and the personal belongings they had brought from Texas. Knowing that John Henry had very little, the landlord had left behind some furniture: a kitchen table, an icebox, two beds, and a well-worn couch. The screened-in back porch extended across the entire width of the house. In one corner, a roll-away bed and a standing lamp stood, and it was there that Johnny made his claim to the porch as his bedroom. Meanwhile, Lady ventured out to explore the expansive backyard, complete with an Eucalyptus tree that was home to a resident squirrel.

My grandmother Bertha had come across newspaper stories about the firebrand woman preacher, ‘Sister Aimee, ‘ holding court at her downtown church. She aimed to grace the Sunday service, eager to unravel the mysteries that had stirred up such a commotion among the camp folks. Ever the agreeable sort, John Henry consented to accompany her and young Johnny, perhaps harboring a hope to cross paths with Blind Jelly Roll Jackson and Pancho Villa.

The faithful congregations formed a line that stretched down the block, twisted around, and continued for another block. It seemed this preacher lady possessed a special magnetism to draw such a crowd. As they reached the doors, they discovered the church was once a theater with a plush red carpet and a winding stairway leading to the balcony. Climbing the stairs, they found seats near the balcony’s edge. With an eagerness to feel the Holy Ghost passing through her, Bertha was in stark contrast to John Henry, who simply yearned for a cup of black coffee and a nap.

The house lights dimmed, and the red velvet stage curtains slowly drew back to reveal an orchestra and a singing choir, all adorned in purple velvet robes. The orchestra boasted horns, a piano, violins, and a drummer, and right up front sat Blind Jelly Roll holding a shiny black guitar. His seeing-eye dog, Pancho Villa, was seated on a chair next to him, wearing a small matching robe. In a moment of confusion, Johnny, unaware of his surroundings, called out Pancho’s name, causing the dog to excitedly tumble off the chair. Jelly, recognizing the voice, offered a warm smile and a friendly wave as he reseated Pancho.

A slender woman with short blonde hair stepped into the center of the stage, enveloped by the spotlight’s glow. She was draped in a white silk robe, and a sizable golden cross hung at her breast, casting a mesmerizing reflection across the congregation. In that divine light, she took on an ethereal quality, almost angelic, as if transported from the pages of a biblical tale.

The singer, whom everyone now recognized as ‘Sister Aimee,’ suddenly turned into a musical whirlwind, belting out a heartfelt religious hymn that could make even the angels jealous. How did this powerful voice project from such a small woman? The orchestra performed as if they were on a mission from above, and the choir sounded so otherworldly that even the congregation wondered if they were in the presence of celestial beings. As tears flowed freely and some brave souls rose to join her in song, Bertha found herself on the verge of a melodramatic meltdown; young Johnny was bored and on the verge of sleeping, while poor John Henry remained steadfast in his pursuit of a good nap. It seemed like the lengthy two hours ahead were shaping into a divine comedy of sorts.

After two more songs just as rousing as the first one, Sister Aimee spoke.

” Dear Hearts, recently, a lost soul came to our church. He had wandered in the wilderness for years. Blind since birth and led by his small seeing-eye dog, he came to me seeking repentance and personal guidance. He is now walking the straight and holy path of our Lord. A formidable blues guitarist and singer, he has agreed to share one of his songs of atonement. Please welcome Blind Jelly Roll Jackson.” The crowd applauded.

A stagehand stationed a large silver microphone before Jelly. The spotlight shone on his hair, white as an East Texas cotton field. He tugged and twisted his guitar through eighteen bars of mournful blues without a moment’s pause. The audience was spellbound, the majority never having encountered a blind black bluesman. Leaning towards the mic, he growled deeply as he sang,

” I gots me a woman, haw-haw-haw-haw, she don’t mean a thang, squeezes my lemon picks my peaches from my trees, gonna go see that gal and get my hambone greased, haw-haw-haw-haw.”

Sister Aimee lunged for the microphone, but a stagehand beat her to it. He grabbed the microphone and carried it away. Jelly Roll was still singing and playing when the stage curtain closed. Blind Jelly Roll Jackson’s official California debut was history.

Don’t touch that dial or turn that computer off; there is more to come in Chapter 6

“Getting Zapped…Brown Shoes Don’t Make It” And A “Beach Party On The Ganges”


It would be a shame if I didn’t include some local 1960s rock musical history by spotlighting our drummer, Barry Corbett, otherwise known in our tight little musical circle as ” Li’l Spector.” The moniker came about because the boy, at age 15 years old, was a musical genius in the same vein as Brian Wilson, Leonard Bernstein, and Phil Spector: thus his earned nickname. We would never know why he chose the drums as his primary instrument: the guy played an assortment, including Bongo drums, kazoo, paper and comb, Dog House bass, violin, Hurdy Gurdy, guitar, keyboards, Vibes, Trumpet, Piccolo, Harmonica, Juice-Harp, Spoons, Autoharp, Dulcimer, French Horn, Tabla, finger cymbals, gasoline-powered Lawnmower, and Sitar. I’ve probably left a few out; it’s been a while since I thought about this. Barry’s original drums were worn out, so his father purchased him a set of Slingerlands. The finish was all swirling and psychedelic, and if we wore those cheesy 3D glasses from 7-Eleven, we could see the Summer of Love a full year before it happened.

In 1966, our repertoire consisted of The Beatles, The Rolling Stones, Hollies, Paul Revere And The Raiders, The Turtles, and The Byrds. We also played a handful of Beach Boy songs. Our voices were still high, so the Brian Wilson falsetto wasn’t a problem.

The 1966 Orphans in our Paul Revere boots

Unknown to Jarry and I, Barry secretly listened to weird underground music: “Frank Zappa And The Mothers of Invention.” These guys were so whacked out that the radio refused to play them, but Barry would. He adored Zappa and wouldn’t wear brown shoes in brotherhood to the song ” Brown Shoes Don’t Make It.” He was also a newbie-semi-devout disciple of East Indian music, mainly Ravi Shankar and his droning Sitar, thanks to George Harrison and the album Rubber Soul.

We knew Barry had purchased a Sitar from “Pier One,” a Dallas specialty store loved by the Hippies. The store hawked strange goods from India and the Middle East. He called one day and asked that Jarry and myself drop by to hear him play his sitar.

We were surprised when he could coax the part to “Norwegian Wood” out of the goofy instrument, so we agreed to learn the song and let him play it during our next gig at the Richardson Recreation Center the coming Saturday evening. He failed to mention that he had two additional musicians accompany him. He was a tinkerer, so he removed the electric pickups from his Gibson Melody Maker guitar and installed them on the sitar, creating the first electric East Indian instrument. Two Electrovoice condenser microphones were used to amplify his additional musicians.

Our gear was set up, and sound checked an hour before the dance, and in strolls Barry, dressed in a Nehru suit: his girlfriend and a guy about Barry’s age in tow. His followers, wearing a white Sari and a Dhoti, trolled behind him: they carried a small bongo-like drum called a Tabla and two tiny Zildjian cymbals on cute little stands. The guy was carrying an instrument that looked like a cross between a fiddle, a guitar, and a Dulcimer. All three had bright red Bindi dots on their foreheads. Barry was lugging his sitar, drum kit, and a Vox AC30 amplifier. After he set up his drums, he ran a sound check on the electric sitar and stuck the other mic inside the Tabla drum, one next to the little cymbals and the frankeninstrument. They sounded pretty good for a Rube Goldberg rigged setup. The three of us were duly impressed but leary of what might happen. Chaos followed Barry like an afternoon shadow.

The band played the first set to about 300 sweaty teenagers. The building’s air conditioning couldn’t keep up: it was a typical July in Texas.

Barry and the two musicians rolled out a Persian rug, which was likely stolen from his mother’s dining room, and positioned it in front of his drums. The girl lighted incense sticks held in large brass holders. Barry lugs his sitar from behind the stage, plugs it into the Vox amp, and sits in the traditional Shankar crossed-legged position. He is ready to rock. We break into Norwegian Wood, and the three-piece Hindi band sounds darn good but a bit loud. The teenagers move in close and surround the trio. Who are these weirdo-freaks? We finished the tune and received polite applause. A better reception than we had hoped for, but then…

For their second tune, Barry announces they will play Ravi Shankers’ biggest hit: “Beach Party On The Ganges,” a snappy little number sounding like Brian Wilson, and the boys meet Ghandi and crew for a cookout on a crocodile-infested beach. The sitar starts to feedback, and the Tabla drummer and Frankenguitar lose their tempo, not that there was one ever established, and Barry, now in a musical trance, is all over the sitar. The crowd of surrounding teens is transfixed, awed by his Zen Zone musicianship. The two other musicians, lost and toasted, have stopped playing. Lil Spector drives onward in his moment of musical adulation.

The Sitar feedback was incredible, so Barry, still locked in his “Ravi sitting position,” leaned back to reduce the volume on his amp. He leans too far, loses his balance, and falls backward, causing the head of his Sitar to catch a mic stand and break off the long body of the instrument. No one knew that Sitar strings were wound to a deathly tension. When the Sitar broke, the strings popped, winding around Barry’s head into his hair and then into his two other musicians’ long hair. It was a disaster. All three were incapacitated on the rug, unable to move. The crowd hooped and hollard, thinking it was part of the show. The poor Sitar wound up in the dumpster, and his musical disciples left the fold, throwing their red-dot makeup tin at Barry as they stormed out of the Rec Center. At his request, we dropped Norwegian Wood from our setlist.