‘Well, I said hello to the spirit of 1956,
Who was stationed in the bushes next to ’57….’
Thus sang Jonathan Richman on one of the dozen best songs ever recorded, “Roadrunner”.
I encountered the same spirits on a soggy Thursday night in Leek. It’s not what you expect, really and I would have appreciated fair warning but there it is.
A modest but politely enthusiastic audience was more a reflection of the night rather than ‘the turn’. Leek, one of the highest towns in England – ‘Queen of the Moorlands’, baby – was sloshing about in the remains of the tropical storm which had brought a well-morphed spirit of the Caribbean many miles away from source. This exotic and fantastical weather ‘bomb’ was well named by the time it reached these climes.
Doris. Queen of the wet and windy.
So one for the hardy, very local or true believers.
First up, support from a local musician and leading light in the Leek Blues Fest – end of last week in September 2017 for those of you young enough to believe in the idea of forward planning – Mike Gledhill, an affable singer-songwriter who played an amiable bunch of self-penned songs, one of which he entertainingly claimed he wrote with J.J. Cale….”he just doesn’t know it yet…!” all of which amounted to a pleasant enough starter-upper.
John Lewis is, in his solo incarnation, a revelation from the second he hits the strings. Within the first four songs it is pretty obvious we’re in the presence of something a bit special here. His repertoire wanders with total comfort between 1956 rockabilly skeletons, Hank Williams-esque country painfests, straight-ahead four on the floor R’n’B – tinged rock ‘n’ roll that Chuck Berry made his own, and the prehistoric pop sensibilities of Buddy Holly. How does he manage this?
Well, for a start, this guy has A Voice. And it’s usually the voice which lets down a perfectly acceptable ‘Americana’ (hate the term – but bear with me) act, especially the blues. But this guy has got the whole thing going on. I find it incredible that one bloke’s voice can capture the essence of the pained ache of the aforementioned Hank Williams (done badly it just sounds like mawkish sentimentality – and John Lewis doesn’t appear to do mawkish sentimentality), the tremulous, vulnerable majesty of Roy Orbison, the mean, gritty swagger of some of the other Sun-era originals like Sonny Burgess, Charlie Feathers et al, and the popped-up sweetness of Buddy and yes, at one point, Elvis and of course, Johnny Cash. Not only that, he is positively expert on a range of guitars that look like they really ought to be nailed to the wall in a museum in Nashville or used as agricultural instruments.
Here is a man who is on top of his game, big style. You don’t have the likes of Imelda May helping out on his beautiful celebration of dadness, “Waltz Around the Kitchen”, or The Jets providing back-up on some of his recordings without knowing your chops. What I find similarly astonishing is the authenticity which having a ‘stamping board’ – which looks like a heavily-modified pallet – as your rhythm section. And to keep that going with metronome precision throughout a set which requires a variety of pace changes mid-song can’t be easy, not to mention physically exhausting.
What is it about the Welsh? Why do they produce such brilliant rock ‘n’ rollers? Crazy Cavan and the Rhythm Rockers; the much-maligned Shakin’ Stevens; Geraint Watkins; Ricky Valance (first Welshman to have a UK number 1 hit; ask your grandma.) Even Sir Thomas The Jones started out with beat-group derivatives of old-school r and r. And John Lewis sits fairly and squarely in the middle of this tradition. Already. And you feel there’s still plenty to come.
Perhaps the best compliment you can pay an artist who features a number of ‘covers’ in their set is that the originals are not fillers you sit through politely before he chucks in a crackling, impatient “Help Me” or an incendiary “Baby Please Don’t Go”. By focussing on the fundamentals, family relationships (“Waltz”) paying the bills or not (“Money Troubles”) or social exclusion (“Not Quite the Not”) his own stuff sits in perfect context with a whole range of classics which span early skiffle, work songs, blues and country. Modern sensibilities, mark you; “Money Troubles” is a beaut, naming the beast in a direct and modern setting. I mean, if he was writing ‘baby left me and mah mule got lame, lost mah money in a poker game’ you’d wonder quite what the point was. So he doesn’t.
And that quite stunning voice enables him to interpret an old and well-worn song with vision and flexibility. I mean, “Always on My Mind” sung by Elvis always sounds to me like ‘I may not be perfect but regarding our relationship I’m always Elvis Presley.’ Sung by Willie Nelson, it sounds like ‘I’m nowhere near perfect but regarding our relationship, this is the about the best I can manage.’ Here is an interpreter of other people’s songs who thinks about what they mean to him, not just his own material, and that isn’t necessarily a given.
Note to self; go and see The Real John Lewis, as the microphone stand proclaims, as a trio and see how that changes the dynamic of things. I’d imagine that freed from having to be his own personalised rhythm section there’d be some real pyrotechnics then. And also, must go see him in an over-full, sweaty cave somewhere filled with the drunk and the raucous rather than the sparsely-populated but admittedly lovely high-ceilinged Victoriana of the Foxlowe Centre.
I stop mid-gush to voice two slight concerns. Firstly, regards old rockabilly and rock n roll, (I flatly refuse to use the term Americana as I hate it with a vengeance) virtually the entire world is looking in a direction away from the original source of music as we know it at the moment. How is this phenomenal talent to break out of the limitations of the genre? And secondly, what exactly IS the genre? And DON’T say Americana, I will not be held responsible for my actions. Sooner or later, a ‘breakthrough’ airplay track may well compel The Real John Lewis to define himself a little more precisely than his talent would probably feel comfortable with. At that point The Real John Lewis – or a version of – might be forced to stand up. (At which point the rhythm section will fall silent, ‘cos you can’t do the stomp rhythm thing unless you’re sitting down.)
But neither of these things are the artist’s problem and neither are they particularly within his control, either.
And the latter might be a nice problem to have. It would be no more or less than he deserves.
New acoustic album “His Other Side” comes out on February 26th, I’m told. Website www.therealjohnlewis.com
Ags is a regular contributor to this feature, bringing a unique Ameripolitan twist to the proceedings. We always like to hear what he has to say about music in general, so here are some of his favourite things from 2016. Oh, and by the way, Ags has his second album coming out in February and it’s produced that other Riot Towers favourite Dean Owens.
In no particular order…
Show w/ Jack Grelle and Ryan Koenig at Off Broadway, St. Louis MO, 28th February
In February this year I undertook a US tour with a full band, including co-headliners Jack Grelle and Ryan Koenig. Jack and I toured the UK and Ireland in 2015 so this was the ‘return leg’ for me. The band included Jack’s bass player Brice Baricevic, Pokey LaFarge’s drummer Matt Myer and Ryan himself, who is also an integral part of Pokey’s band as a multi-instrumentalist sideman. Jack played lead guitar when I was on stage. Needless to say the band were superb and over the course of 16 dates around the South and South East we honed our act until the final show of the tour – a homecoming for the band at Off Broadway in St. Louis. A nice crowd turned up including the other members of Pokey’s band (and the man himself) and we played our tightest and most enjoyable show of the tour. Probably one of my favourite gigs ever, in fact. I hope I’ll have the chance to play with these fellas again.
Jack Grelle – “Got Dressed Up To Be Let Down”
Speaking of Jack, in October this year he released his second studio album (under his current solo guise). It may seem biased for me to include this in an end-of-year list but, having played countless shows with Jack and heard these songs many times, I think I’m well-placed to say whether they stand up to scrutiny or not. And they do. Along with the title track and all the other country/honky tonk/Cajun etc. sounds on this album, I love the song “Birthday Cards” about his Grandmother, which he’d mentioned to me during its writing. It could’ve been written by John Prine or any of the great country singer-songwriters you care to mention. Listen and find out.
Luke Bell – “Luke Bell”
Luke is a guy I discovered a while ago, and later found out, as coincidence would have it, that he is a friend of Jack Grelle’s. His self-titled album released this year includes some of the songs that featured on his previous effort ‘”Don’t Mind If I Do”, presumably to ensure they reached a wider audience. Luke has one of the most engaging and natural sounds of all the new breed of country traditionalists. I was due to meet up with Luke in Nashville last year but he was too busy opening for Willie Nelson. If there is any justice he’ll be kept busy like that for a good while.
Mo Pitney – “Behind This Guitar”
It’s not often the current young darlings of the modern Grand Ole Opry would make it onto any positive list of mine, but Mo Pitney is an exception. A young, skinny -as-a-rake lad in his early twenties, Mo is unquestionably the heir apparent to Randy Travis, Alan Jackson and every other neo-traditionalist that was left in the dust by pop music. His voice and the songs he’s put together with other excellent writers demand attention. His first album has been a long time coming but was worth the wait.
Robbie Fulks – “Upland Stories”
Robbie Fulks’ last album, “Gone Away Backward”, was one that grew on me and became one of my favourites. In fact, a lot of Robbie Fulks’ albums are my favourite albums. 2005’s “Georgia Hard” is a case in point. With “Upland Stories” Robbie revisited the sparse arrangements of “Gone Away Backward” and mixed it with his always exceptional songwriting. It was recently announced that this album has been nominated for two Grammy Awards, a better-late-than-never slice of recognition that will hopefully bring a new audience to this songwriter’s songwriter.
Ags is way too polite to mention this, but his second album “Nothin’ Unexpected” will be out on February 3rd on At The Helm Records.
The promotion campaign for “Double Take” features some of the artists involved (Rod Stewart, Paul Carrack and Huey Lewis) talking about the first time they saw Frankie Miller. Now, that’s a great idea.
Freshers’ Week, Dundee University, 1976 and the first gig of the year was Frankie Miller’s Full House. I went to the gig with my new mate Steve (still a mate and writing great reviews for MusicRiot). The band were superb and we left the gig raving about Ray Minhinnet’s guitar work, Chrissy Stewart’s bass playing, but most of all about Frankie’s stunning soul voice. He started the ballad “With You in Mind” a cappella, and with perfect pitch, before the band dropped in underneath the vocal; I was completely hooked from that moment. I’ve seen an awful lot of gigs since then, but I’ve never heard a band that nailed it so completely, song after song.
So let me put “Double Take” into some kind of personal and historical context. As Frankie slowly fought back from the brink after a brain haemorrhage in 1994, you would hear occasionally from friends on the Scottish music scene about his progress; not frequently, but often enough to know that things were gradually improving, and it carried on like that until 2012 when word started to leak out that a project with Frankie’s old demo tapes was in progress. It’s taken over four years and probably a few unexpected twists and turns, but the final result is “Double Take”, nineteen unreleased Frankie Miller originals reconstructed from demo vocals, and all but one reimagined as duets with singers that wanted to be involved with the project. Although Frankie’s biggest chart hits (“When I’m Away From You” aside) were interpretations of other people’s songs, he also wrote a shedload of great songs for himself and other artists.
The nineteen songs on “Double Take” are pretty representative of Frankie’s songwriting output, covering soul, blues, rock, country and ballads. And that’s the staple diet of Scotland, right there; forget your deep fried Mars Bars. All of the songs have been arranged around the original demo vocals (with Frankie involved in quality control), but the quality of the voice is so good that almost everything sounds like a full-scale production. To be honest, given the choice, I’d rather listen to Frankie Miller demos than most singers’ finished product.
The guests on “Double Take” are a mix of megastars and people that Frankie knew and worked with in the past. Without listing the whole lot, how about Joe Walsh, Elton John, Kid Rock, Delbert McClinton, Kim Carnes and Willie Nelson. Add those to the ones listed at the top of the article and you’ve got a huge amount of respect across musical styles for Frankie’s work. Great news for fans of Frankie from the mid-seventies is that Full House appear on three songs in the middle of the album. “When It’s Rockin’” (with Steve Dickinson) is a horn-driven rocker, “Beginner at the Blues” (with Delbert McClinton) is a slow blues and “To Be With you Again” (with Kim Carnes) is a mid-tempo ballad. For a while there, I was back in that night in1976.
With so many songs and such a variety of arrangements, it’s difficult to pick standouts, but the gospel choir of “Where Do the Guilty Go” (with Elton John) and the country ballad “I Want to Spend My Life with You” (with Willie Nelson) are hard to beat, while the hauntingly simple “I Do”, with only Frankie’s vocal over a sparse arrangement is the perfect closer for the album.
This has been a long journey for some very dedicated people, culminating in an album that can only add to Frankie Miller’s legacy by bringing those powerful vocal performances to a wider audience and unearthing so many unreleased songs. This is a classic.
“Double Take” is out on September 30th on Universal.
Here’s a sneaky little peek for you:
Keegan McInroe seems pretty relaxed about the whole process of touring, in fact he seems pretty relaxed all round. If you listen to his latest album, “Uncouth Pilgrims”, you’ll know that he’s travelled extensively and used his experiences to create some great songs. It’s obvious from the moment you open the door of The Lighthouse on Battersea Park Road that it’s not the ideal gig for a singer/songwriter. It’s Friday night, noisy and full of the ‘few beers after work’ crowd, but Keegan doesn’t seem too bothered; it’s a gig he’s done since his first tour here in 2004 even though the pub has changed hands and function since then. Having a quick chat before the gig, he’s remarkably unfazed by the audience, explaining that he’ll just play a few more covers than usual and some of the songs from the new album.
And that’s just what he did. His own material, mainly from the new album, was slotted fairly evenly into the two sets and included “Lumberjack Blues”, “Give Me the Rain”, “I Got Trouble”, “Flower Song for Barefoot Dancers”, “Nikolina” and “Lay Down”. The stripped-down versions worked beautifully live and the audience didn’t distract too much; there was even a fair smattering of applause around the room.
As for the covers, well, he didn’t put a foot wrong; he even played a couple of unexpected old favourites of mine. There were songs by the songwriting giants (Tom Waits, Townes Van Zandt, Willie Nelson, Neil Young and a tribute to Merle Haggard) and a few less predictable choices. Only three songs in, he made the brave choice of tackling Hoagy Carmichael’s “Georgia” and, despite a fairly noisy crowd, he made it work. The more esoteric song choices added the spice that made the evening unique; Stevie Ray Vaughan’s “Life by the Drop” and Warren Zevon’s “Carmelita” (both stories of addiction) introduced an element of pathos, while Muddy Waters’ “Champagne and Reefer” and Elmore James’ “Dust My Broom” (which closed the second set) gave Keegan the chance to demonstrate his blues licks.
If this gig had been in an established ‘listening room’, the audience chatter would have been hugely distracting, but it was a free gig in a local pub and Keegan took a pragmatic view of the situation, playing to the people who were interested and tuning out those who weren’t. His own songs are well crafted and worked perfectly in the stripped-down format. He’s also a really nice guy.
“Uncouth Pilgrims” is released on Friday May 27th
So, Kimmie Rhodes. Singer-songwriter, former Willie Nelson collaborator and duet partner and generally overlooked talent from way back when, she has been quietly taking care of business by writing, recording and performing since 1981 without ever achieving the recognition she deserves. Well, maybe now is the time to put that right. On “Cowgirl Boudoir”, Kimmie works with multi-instrumentalist Johnny Goudie, producer Gabriel Rhodes and Sunbird Studios house band to create a poignant, forthright and sometimes achingly beautiful set of songs that deserve a wider audience. And it’s not just a collection of songs, the album has a narrative which flows from the hauntingly world-weary opening duet, “I Am Falling” with Johnny Goudie to the positive and uplifting closer, “Yes”.
With “Cowgirl Boudoir”, you get a lot of bang for your buck. There are fourteen songs on the album and absolutely no filler; every song is there on merit. It’s fair to say that there aren’t too many cheerful little toe-tappers but the songs are well-constructed, beautifully played and sung from the heart. There’s a theme which runs through the album; about half of the songs are about dysfunctional and flawed relationships, but that’s not really news in the singer-songwriter genre or in country music generally, is it?
Musically, the core of the studio band is Kimmie Rhodes (vocals, guitar), Johnny Goudie (vocals, guitar, piano), Gabriel Rhodes (just about everything), Dony Winn (drums, percussion) and Glen Fukunaga (bass) with the seasoning supplied by Jolie Goodnight (backing vocals), Tommy Spurlock (steel guitar, Dobro) and Stephano Intelisano (keyboards). The musical settings emphasise the mood of each song on the album, from the plaintive steel guitar of the opening track and “Lover Killing Time” to the uplifting piano on “Me Again” and folksy feel created by mandolin and guitar on “Always Never Leave”. Not forgetting the psychedelic feel of the electric sitar on “The Sky Fell Down” and the Hammond B3 filling out the mid-range of “Worthy Cause”.
The lyrics are deceptively simple; they sound very straightforward, but they’re actually very well-crafted. “Me Again” uses themes and characters from fairy stories and fables to evoke childhood, and buying “Eight Days a Week” to represent a rite of passage into adulthood and music, while “Trouble Is” has the listener trying to work out what trouble actually is before working out that trouble just is. And I could go on, but the best bet is for you to have a listen for yourself.
“Cowgirl Boudoir” is out now on Sunbird Records (SBD 0021) and you can see Kimmie Rhodes on tour here.
So, purely in alphabetical order (by album title) because there’s no way I’m trying to rank these in order of preference. They’re all very different and I can recommend any one of them to any real music fan; these are my five favourite albums of 2014.
Phil Burdett’s latest album (on Drumfire Records) was a complete surprise for me. I’d heard Phil play a solo acoustic set a couple of years ago on a night out with the Riot Squad, but this was a completely different beast. “Dunfearing…” is the first part of the “Secular Mystic” trilogy, which should be completed with the release of parts two and three in 2015. It’s an album that sounds gorgeous; you could just sit and let its mix of folk, rock, country and a bit of jazz wash over you, but a little bit of extra effort and careful listening brings out all of the detail that Phil and the musicians have packed in to it; and there’s a lovely tribute to the late Jackie Leven. After reviewing the album, we also managed to grab an interview with Phil during the summer, which is a fascinating insight into a great songwriter.
By sheer coincidence, also on Drumfire records, was the debut album from Ags Connolly, “How About Now”, which is now also available in a lovely limited edition vinyl pressing. Ags is based in Oxford but his roots are deep in the American South and his genre is a country offshoot known as Ameripolitan. He takes the outlaw attitude of artists like James Hand, Willie Nelson, Johnny Paycheck et al and gives it a personal twist with some very poignant songs. The album was produced in Edinburgh by his Drumfire labelmate, Dean Owens, and works well with full country band arrangements as well as the powerful solo acoustic guitar backing of the closing song “How About Now” (which was a genuine one-take recording).
“New York Horns” – New York Horns
I know; you’re surprised that I’ve picked a jazz album. Truth is that I love to hear a good horn section, and most horn players away from the day job like to stretch themselves with a bit of jazz. The horns in question are John Isley (saxophone), Chris Anderson (trumpet) and Neal Pawley (trombone), better known as the horn section of The Asbury Jukes, aided and abetted by Jeff Kazee (keys) and Glenn Alexander (guitar). There isn’t a bad, or even a mediocre track on the album and with moods ranging from the blues of “Strollin’ with Sean” through the evocative, mellow “Morningside at Midnight” to the 24-carat soul of “Can’t Stand to See You Cry”, there’s something for everyone.
And continuing on the soul theme, how about some genuine home-grown English West Midlands soul? Stone Foundation has been steadily building up a devoted following for about ten years now, but “To Find the Spirit” may turn out to be the game-changer for them. The band takes influences from all over the soul spectrum to create a sound very much of this century but which appeals to very disparate groups of fans. The album grabbed me from the first few bars with the Hammond and horns intro of “To Find the Spirit” and impressed from start to finish. After 10 months (and seeing the band live three times), the standout song is definitely “Don’t Let the Rain”, driven along by Neil Sheasby’s slinky bass groove but, again, there’s no filler here.
Now the reason this one’s here is that Pete Kennedy (one half of one of my favourite groups, The Kennedys) decided to pay tribute to the pioneers of the electric guitar prior to the rock ‘n’ roll era; the guys who had grab the interest by using technique and melodic invention rather than volume and a thudding 4/4 beat. Pete is a superb technical musician and “Tone, Twang and Taste” is so obviously a labour of love; every song is played with immaculate attention to detail and they all sound like they were great fun to do, particularly Pete’s ukulele version of “Rhapsody in Blue”. The commercial possibilities for this album were always very limited, and that’s one of the reasons I admire Pete so much for producing something that made me smile from start to finish.
You can read the original reviews of these albums on the site complete with all of the links to the songs on Spotify or Youtube; just type the title into the search box and you’re away. Go on, have a listen; they’re all great albums.
Earlier this year I reviewed Ags Connolly’s excellent first album, “How About Now”, which was produced by Dean Owens. The album opens with “When Country was Proud” and it’s a pretty good choice as the lead track for the EP as well; it’s very accessible (if you have the slightest leanings at all towards country music, you’ll be singing along) and it’s a manifesto for Ags and the Ameripolitan movement generally. The song harks back to the glory days of country with references to Johnny Paycheck, David Allen Coe, Willie Nelson, Waylon Jennings and Hank Snow, contrasting the outlaws with the sanitised state of modern popular country, and it’s difficult to disagree. On an album that’s absolutely packed with great songs, this one stands out as a single.
The remaining two songs on the EP are from a solo session Ags did for Resonance FM earlier this year. “She Doesn’t Need Anyone Anymore” is a slow ballad about losing touch with a good friend, while the more uptempo “Trusty Companion” with its 60s sounding sus4 chords is a more hopeful look at relationships and possibly a companion piece to the album’s beautiful closing song “How About Now”. It’s interesting to hear these stripped-down live versions because they highlight the strength of the songs; if they work in that format, there’s no doubt that they’re good. The format also shows that Ags has a truly great voice for country music; with only an acoustic guitar for backing he sounds flawless.
The single is certainly worth adding to your collection for the live session, but if you really want to treat yourself, get your hands on the 180g vinyl version of the album which is released on Monday November 10.
“When Country was Proud” is out now on Drumfire Records.
Normally, Closet Classics would feature an album but I think this song deserves its own CC feature. “The Wild Side of Life” is a classic country song, which alienates most of the music snobs instantly. It’s great to see that country has finally become accessible, songwriters in the UK are admitting to being influenced by it and it’s hard to believe now that for decades the genre was seen as a bad joke.
This song played a huge part in my childhood. Country music has always been popular in Scotland. I’ve got a few theories about that, but I’m sure the sociologists and musicologists can give you much better-researched explanations; here’s a personal perspective.
In 60s and 70s Scotland there was a great tradition of families and friends gathering (usually after the pubs closed, which was 10 o’clock in those days) to sing songs and tell jokes, and maybe have a wee dram or two. Most of the songs were country: “Crying Time”, “Please Help Me I’m Falling”, “From a Jack to a King”, “He’ll Have to Go” and the occasional standard like “Summertime”. Everyone had their own song which they performed at every session. I’m guessing that they picked up those songs from American Forces Network (AFN) radio, American military bases and artists playing in working men’s and ex-servicemen’s clubs. However they did it, they learned those songs and passed them on in the age-old oral tradition. A lot of those songs made it on to the club circuit because you didn’t have to be a great guitar player to do passable job of supporting your voice with a few chords on an acoustic guitar to sell a good song; depending on your vocal range, you could get by with C, F and G at a push. Some combinations of those letters might have even helped you with hecklers.
So why “The Wild Side of Life”? Really simple, it was one of my grandad’s songs and he could really sing (and he fought in a world war, got shot, went to New York, and won a Fife Junior Cup football medal as well); when you grow up hearing a great song delivered with feeling by someone with a good voice, then it’s going to stick for life. And you’ve probably guessed that there was a bit of hero-worship in there as well. So the song was stuck in my consciousness and it wasn’t going away and, although the early 70s seemed to be a country-free zone on the surface (apart from the schlock that made the UK charts), my favourite singers and songwriters (Neil Young and Jackson Browne, for example) were heavily influenced by country singers; Neil Young even covered “Oh, Lonesome Me”. Towards the end of the 70s, it became acceptable to like “The Wild Side of Life” when it was covered by such rock tastemakers as Status Quo and Rod Stewart, but I was there way before all of those denim boys and feather cut fancy dans because I loved the original.
The classic version of the song, for me anyway, is the 1952 version by Hank Thompson, whose plaintive vocal perfectly matches the theme of loss in the song, but there are dozens of others by country artists before you even start to look at pop covers. The song even generated one of the earliest answer songs in Kitty Wells’ “Wasn’t God Who Made Honky Tonk Angels”, which was also a No. 1 in 1952. As the 70s morphed into the 80s, more country acts crossed over into the mainstream and artists like Carlene Carter, Rodney Crowell and Rosanne Cash along with the bad boys like Willie Nelson and Merle Haggard. Even angry young man Elvis Costello did an album of country covers and it was ok to admit that you always loved country music.
That should have been the end of the story, but there was still another twist. When I moved to London and worked with people whose parents came to the UK from the Caribbean, I discovered that they grew up listening to the same music that I had listened to as a kid in a Fife mining village. Now, that was a weird sensation; discovering a completely unsuspected common musical heritage with friends from a completely different background and maybe that says something about music being able to break down all sorts of barriers. Of course, the whole idea of country being big in the Caribbean in the 50s is old news now that Trevor Nelson has spoken about it, but it came as quite a shock at the time.
As for the song, well, whenever I pick up a guitar and start playing, it usually manages to poke its head in there and it’s a challenge to try to find a musical style you can’t fit it into. And it’s such a great song that it can make a mediocre player and singer sound reasonable. What more do you want?