Tennessee Border

Red Foley  -  Tennessee Border

It was sixty-four years ago today, Red Foley and company headed into a Nashville studio and cut the timeless Tennessee Border, written by George Morgan. Teenaged steel guitarist Billy Robinson is not only still kicking, he still gigs occasionally in Nashville, as he did a few weeks ago, playing with Chris Scruggs & His Air Castle All Stars, a truly world class outfit, at a west Nashville establishment called the Stone Fox.  

The information below appears courtesy of Bear Family records:

February 6, 1949; Castle Studio at the Tulane Hotel, 206 8th Avenue, Nashville, TN.  Producer: Paul Cohen

Red Foley: vocal

Zeb Turner: electric guitar

Grady Martin: guitar

Billy Robinson: steel guitar

Ernie Newton: bass

Owen Bradley: organ

Ezra Stoller

Columbia Records, 1953.  Photo by Ezra Stoller.

If I were in NYC, I would most certainly plan on dropping by the Yossi Milo gallery in Chelsea to check out the display of architectural and industrial photographs taken by Ezra Stoller.  More information about Stoller and his wonderful work can be found in this New York Times article.

Infamous Eye-ties: Part Deux

By Gene Sculatti

Who would thunk it? This wacky thing about ethno-geographic phenotypes? The whole school has been given new life with the discovery that two immortal Italo-Americans of conspicuously similar facial features sprang forth from the same good earth: L.A., in the late Twenties-early Thirties. Namely Nino Tempo [ne Lo Tempio], famed Spector cohort and star sibling of April Stevens (Hoots mon! Here they are, killin’ in kilts on TV’s Shivaree: http://www.youtube.com/watch?v=luPRSXyaItU ), and Don Gordon (ne Guadagno), perennial sidekick/heavy. He was the former in McQueen’s Bullitt, the latter in Den Hopper’s “punk” flick Out of the Blue. Don’s cheekbones beat Nino’s, but both work that semi-perpendicular hairline riff on a receding Caesar frame. Here’s Gordon, from a 1965 Kraft Mystery Theater, wrestling a rival to the mat. He shows up at around 6 minutes into the clip: http://www.youtube.com/watch?v=FgIs2kWGips . 

Champion Jack Dupree month: The OKeh Sides - Better than welfare grapefruit juice

Jack wound up his career as a boxer in Indianapolis, where he took a job as a bouncer at Sea Ferguson's Cotton Club. It was here he met Leroy Carr, who influenced Jack's New Orleans barrelhouse piano with his more uptown, nascent Chicago Blues style. It was a combination of these two styles that made up his playing for most of the rest of his career. He travelled to Chicago, where, according to the song "See My Milk Cow", he met Big Bill Broonzy, Tampa Red, and Jazz Gillum, who helped him get his first recording contract, with OKeh.  He made his first recording in 1940 and is often credited with being the first New Orleans blues pianist to be recorded.

Jack talks about his early career as a musician at the start of "See My Milk Cow", ca. 1968

Top row:  Jazz Gillum, Tampa Red, Scrapper Blackwell
Bottom row:  Jack Dupree, Big Bill Broonzy
in front - Tampa Red's whiskey drinking dog.

Hear Jack talk about this very photo in "Reminiscin' with Champion Jack" from the Champion of the Blues LP!

His first release was "Warehouse Man Blues," a song that combines a number of elements that would be cycled and recycled throughout his work. It's pretty funny, but it's also a striking bit of social commentary about being black and poor in a white man's world. CJD would address these issues more fully in the 60s - it was pretty much why he abandoned the United States for England and mainland Europe.

"My grandma left this morning with a basket in her hand
she going to the warehouse to see the warehouse man
she got down to the warehouse, and white folks said 'ain't no use,
the governor ain't giving away nothin' but that canned grapefruit juice.'
It's a low down dirty shame the way these projects doin.

Now Uncle Sam paid the men that bonus
You know that was mighty fine
You fill them street walkin' women up with that moonlight wine
You spent all your money, you spent it mighty fast 
Now this winter breeze bout to jam you with a . . . yeah! yeah!
Don't you know the relief is closing down?
It's a low down shame the way they really do."

(Paid for) sex, booze, poverty, righteous anger at injustice, double entendre, a woman who has mother in her name that is not quite the singer's mother - it's just about all there, except for the heroin and the cabbage.  And the shaking.

Jack cut enough tracks to release four records on his first date in 1940, including the utterly stompin' "Cabbage Greens" and "New Low Down Dog", an early version of "Stumbling Block", one of his best known and loved rockers.

He was back six months later for another one, when he unleashed the "Dupree Shake Dance" and a song that would have a huge influence on the sound of New Orleans rhythm and blues (and by extension rock and roll in general), "Junker Blues".

You hear a lot about the key piano professors of New Orleans, and too often Jack Dupree does not get mentioned on the list.  But his rolling figures and general acceptance of all facets of human behavior are at the heart of New Orleans music. Fats Domino would take this song, remove all of the references to drugs and squalor (not easy, since that's just about all there is to the lyrics), and create "The Fat Man" in 1949, a song that's often one of those many "first rock and roll" songs you hear so much about.  So, by logical extension, in this month's version of the story, rock and roll was created on a bed of needles, reefer, and cocaine. Something to keep in mind. "Junker's Blues" plays an important part in another key development in the history of rock and roll, but we'll get to that in a couple of weeks.

vs.

"Dupree Shake Dance" is another key piece of early rock and roll spirit, mainly because it's such a racket. One thing about Champion Jack Dupree - he does not play with the ease of other New Orleans pianists like Professor Longhair on one side or Jelly Roll Morton on the other. And it's his enthusiastic approximation of a sophisticated boogie that provides a great transition from jazz to rhythm and blues.  He beats the crap out of the keys, playing like he still has his boxing gloves on, going a few rounds with the piano and creating an imprecise splatter of left handed clams that adds a righteous element of chaos to his faster boogies. This leaves him sometimes on the nose wrinkling end of blues critic-type assessment of his work, but for the purposes of rock and roll it is completely on point - you can't guess exactly where his fingers are going to fall, and the whole mess ends up sounding like an Esquerita solo or something.

Jack recorded one more session for OKeh, in November of 1941.  This session included another New Orleans styled r&b number, "Heavy Heart Blues", and some very cool early Chicago style blues which include the first appearance of electric guitar on his records.

His fledgling musical career was interrupted, however, by his first trip overseas, to serve time in World War II.  He wouldn't pick up his musical career again until 1944.

Listen to "Warehouse Man Blues"

Champion Jack Dupree made a LOT of records

Champion Jack Dupree made records for over 50 years.  His first sides came out on the OKeh label in 1930, and his last album was released in 1992.  In the 40s he cut dozens of single sides for about as many labels - including several under different names (like Meat Head Johnson).  Most of these only came out on 78, and were largely unavailable in any other form until the CD-era. He made lots of LPs for a variety of European labels after moving there in the early 60s, and made one of the best blues albums ever for Atlantic. Most of the 45s he recorded were cut from '53 - '59, for Robin, Groove, and King. The Euporean blues afficianado for whom he recorded in the 60s seems to have favored the long player.

The jist is that CJD made a LOT of records. He was the John Lee Hooker of barrelhouse piano (in more ways than one, since some of his best recordings are just him, his piano and his stomp). He was always happy to reinvent one or more of his Dupree specials for whoever might be willing to give him some bread. Like John Lee, he got thrown in with an awful lot of younger, white blues players in the 60s, with similar mixed results. But he made records both rockin' and righteous all his life, he tells great autobiographical stories in a lot of his songs, and he casts a shadow over the history of enough Ichiban-oriented interests to keep us amused for a month. Plus he's hilarious.

And he knows his Shakespeare

Jack Dupree was born in New Orleans in 1909 or 1910.  Like Louis Armstrong, he claimed to have been born on the 4th of July, and like Armstrong, that claim has proven to be inaccurate. Also like Louis Armstrong, he was raised in New Orleans' Home for Colored Waifs, after he lost his parents in a house or store fire that may or may not have been set by the Ku Klux Klan. Jack talks about this on his song "The Death of Louis Armstrong" and makes reference to the fire in a song called .

Jack taught himself to play piano after the orphanage acquired one from the Salvation Army, and apprenticed in the juke joints with Willie Hall, also known as Drive 'Em Down, who apparently taught him one of his signature numbers, "Junker's Blues".  He reminisces about Drive 'Em Down at the start of the song "Workhouse Blues", from an early 60s session for Storyville, recorded in Denmark.

In the 30s he split New Orleans for Detroit, where he became a boxer. Here he earned, either honorably or ironically, the nickname "Champion", depending on whose stories you believe. One imagines he got sick of hitting something that hit back, so he moved to Chicago at the start of the 40s and started playing the piano again.

Listen to "The Death of Louis Armstrong"
Listen to "Workhouse Blues (Talkin' Bout Drive 'Em Down)"

sorry about so many slow songs today - we'll get to boogie plenty by month's end . . . 

Relative to his large body of work and the colorfulness of his life, there does not seem to be a lot of information about Champion Jack Dupree out there. He is not the subject of any biographies, and he doesn't get a lot of mention in the blues history books I've checked. Francis Davis's History of the Blues offers a useful if slightly condescending three page biographical overview.  

This blog post has a great interview with CJD and will be returned to frequently this month.

Big thanks to the exhaustive Champion Jack Dupree discography here.  Pretty much my only tether to reality this month.

It's FOOTBALL, Baby! (mp3 mix)

Happy Super Sunday, sports fans!

KICK OFF - Johnny Ray Gomez & the U-Neeks
FOOTBALL ROCK - Jack Hammer
KILLER McBASH - The Weird-Ohs
DO THE FOOTBALL - Acres of Grass
FOOTBALL - Mickey & the Soul Generation
IT'S FOOTBALL BABY - Stix of Dynamite

TOUCHDOWN!!!

February is Champion Jack Dupree Month

New Orleans barrelhouser.  Spyboy.  Boxer.  Expatriot.  Mickey Baker collaborator.  Babs Gonzales translator.  Middle-finger-to-blues-scholars-giver.  Jiver.  Junker.  John.  Stroller/walker.  Mother-in-Law hater.

February is Champion Jack Dupree month.  But Jack Dupree wants us all to take the weekend off and get up to really shameful antics so we can talk about them ruminatively while we play a slow 12 bar blues and stomp our feet.  Be prepared for vamps 'til Monday.  Lord knows CJD knew how to vamp.

Similar Bat-Time, Different Bat-Channel: Fiveash pulls a David Brinkley

"What the f*ck is wrong with this thing?"

Over the last few weeks, some, if not none, of you Rock & Soul Ichiban Radio listeners may have been wondering what happened to my live Thursday show. Well, there has been a programming shake-up on WFMU's alternate webstreams, with Ichiban returning to its roots streaming obscure bizarro world hits-that-missed from the 50s and 60s. The reasons are complicated and not particularly interesting; the upshot is that my show, starting next Thursday February 7th, will be heard at a similar bat-time and different bat-channel: 2 to 4 PM Eastern Standard Time, Thursdays on WFMU's Give The Drummer Radio stream. Some Ichiban listeners may remember our sister stream GTDR from when they saved our asses in the dark days after Hurricane Sandy. Give The Drummer Radio is similar to Ichiban in that it's a 24-hour streaming jukebox (curated by WFMU veteran Doug Schulkind from his home in Pittsburgh), but with more live programming. Click here for the full schedule.

For those of you unfamiliar with my show, the playlists to date can be found here.  Expect more of the same.

The White Boots

Carl Butler & Pearl - May, 1963.

Get Out Of The Car (MP3)

Sammy Davis Jr.  -  Get Out Of The Car

In 1956, Sammy Davis Jr. headed for Broadway to headline a musical production called Mr. Wonderful, written expressly for him and giving him the opportunity to transplant his talents from the nightclubs he usually played to what is sometimes called the "legitimate stage."  In any event, the other side of this 45 featured Without You, I'm Nothing, a song featured in the play.  We're not going to worry about that one.  Instead, here's Sammy Davis' take on Get Out Of The Car, The Treniers' irredeemably insensitive song made a bit less appalling here by adding an extra verse (invoking Sgt. Joe Friday!), in which it's made clear that the young lady in question won't have to walk back to town after all.

Why Me

Dale Denny was the bass player for the Fendermen.  Here is his little known hit on Brandy Records.

Why Me (mp3)

Swingin' Time

Broadcast every day at 3:30 on CKLW-TV out of Windsor, Ontario Canada 1965-1968.  This episode features Bob Segar & The Last Heard, Dionne Warwick and her sister, Judy Clay among others.  Thanks, Freddie.  Integration now, segregation never.

1967 Interview With Double Dynamite!!

Talkin' bout their European tour, their music and if white men can have SOUL!!

Do Knock the Rock: The Eternal Hipness of the Square-Biz Mind

By Gene Sculatti
    

You know what I miss from the past?  Sure, Moxie and men’s spats, The Old Philosopher, pre-surgery Kris Kardashian, etc. But what I really miss the most is comedians who made fun of rock ’n’ roll and pop music.

I was reminded of this by a clip I just came across on YouTube, from a Lloyd Thaxton TV show ca. 1965, in which Steve Allen and Milton Berle satirize the then-current fad of protest singers. In long-hair wigs and the fakest of beards, “Monty Mad” and “Billy Bitter” send up folk-rock with silly songs (“Grown-ups are old, youngsters are kid-ish/ If it wasn’t for George Washington we’d all be British”) and typically Allen-style cheap jokes (Thaxton: “You play piano, but you have a guitar around your neck. Why is that?” Allen: “Man, that’s because the piano’s too heavy!”).

The beauty part is that their deliberate stoopidity in making fun of a form they despise is only a couple of feet removed from the stoopidity of the real deal, like Sonny Bono’s “Laugh at Me” and “The Revolution Kind.” I mean, they’re practically brothers in bearskin. And it’s a hoot, even if they were coming from what we might think of as a square place.

Back then, as the new kid on the block, rock had to endure the slurs of the ageing, but still dominant, Greatest Generation (the most cited example being Dean Martin’s unsubtle dissing of the Stones on Hollywood Palace). But why shouldn’t pop be able to take a few sucker punches, especially when the punchers don’t really get it that the Showmen were absolutely right when they proclaimed, in 1961, “It Will Stand”?

And that’s the sad part. ‘We’ won. Our music (everything since the pre-rock Fifties) stood, and still stands, as the undisputed champ genre that itself is now above criticism. Where once Steve Allen had Elvis sing “Hound Dog” to a sad-eyed basset on national TV and Stan Freberg’s “Sh-Boom” deliciously spoofed doowop’s goofy syllable-stretching (check YouTube for both), now the New Yorker ponders “The Meaning of Michael Jackson” and asks, “What to Make of Rihanna?” Yeah, what?

Sure, TMZ and catty blogs and awards-show emcees dish the stars, but implicit in the very attention they pay them is the notion that pop culture, above all, matters and means something. And that’s an assumption the old-school rock-knockers, bless ’em, never made. It’s what allowed them to use it as just more joke fuel—like mother-in-laws, Gunsmoke and drive-in banks—and, in some cases, like Sid Caesar, Carl Reiner and Howie Morris’ Three Haircuts satires (YouTube), grab some of the very juice and crazed energy of their target itself. The Haircuts and hams like Freddie Cannon are almost brothers in Butch Wax.

One of the hippest comics ever is Pete Barbutti. Fans of first-rate rock-knocking should track down a copy of his VeeJay LP Here’s Pete Barbutti. Like Allen and Berle’s protest skit, it’s from 1965, just about the last time anyone really effectively skewered pop (outside of Mark Shipper’s 1978 book Paperback Writer). In front of a club audience, Pete takes on “Disc Jockeys,” explaining that “One of the reasons for the poor state of music in this day and age is that, no matter where you live, there’s at least one radio station that plays nothing but rock ’n’ roll music, song after song…” Thereafter follows his impersonation of motor-mouth Top-40 jocks and the music they play: each song sounds like the next, Pete’s screeching vocals attacking caveman-dumb lyrics as he counts down the hits by “Mary & the Knee-Knockers,” “Theresa & the Tree-Thumpers” and the rest. It’s priceless.

I'm Gonna Hang My Britches Up (MP3)

Onie Wheeler  -  I'm Gonna Hang My Britches Up 

Onie takes on the women's liberation movement...and throws in the towel.

This World Is In A Hell Of A Fix!

Editor's Note:  Thanks to Phil Milstein for this post and to Jim Blanchard for the comp!

I first met Jim Blanchard c.1995, when he was recommended as a possible cover artist for the song-poem compilation The Human Breakdown Of Absurdity I was then preparing. As I undertook due diligence on Jim I came away impressed not only with his brilliant illustration skills, but also with his great ear for music (or, perhaps more accurately, taste that closely matches my own) and his talent for enlightening cultural exploration. I did indeed hire him –– I’d have been a fool not to –– and 15-plus years later Jim remains a stalwart colleague and beloved friend.

He is also a superb mixtape compiler, although his comps have far too frequently been no more than privately distributed. I hope the posting here of his latest, The World Is In A Hell Of A Fix, will help break him out of his shell. The contents have been expertly culled from the fieldwork of Tom Ardolino, who was the ur-source for collector interest –– or, for that matter, any interest –– in song-poem music. When Penn Jillette purchased Ardolino’s song-poem collection outright a few years back, Jim was brought in to digitize the set. In the course of that work he kept copies of his favorite tracks for his personal listening, and his favorites from among those form today’s compilation.

I’m a tad disappointed that Jim chose to use a photograph of Gene Marshall, rather than his own drawing, to anchor the cover, although frankly his renderings, when he wants them to be, are so realistic that I’m not 100% that it’s not one. Anyway I’m comforted by the fact that the yellow he’s chosen for the background is so lurid it is unlikely to print correctly on any common desktop printer, and may cause some of them to break down completely.

Enjoy!

Stand Up!

CAVEMAN STOMP!

 Via the JET magazine archives, hosted over at Google, we can look back and enjoy this insane photo of sax man Eddie Chamblee giving the people their money's worth in 1955.  Perhaps this is how he caught the eye of Dinah Washington, whom he married two years later.

Sam and Dave 1967

SAM & DAVE - LIVE HEAVEN IN '67!

Live on the 1967 Stax/Volt European tour - Paris

SHO'NUFF DOUBLE DYNAMITE!!!

Musical Chairs

B.B. Kings

A few programming notes here at Ichiban HQ. Starting this Saturday, Live From The Admiral in beautiful Asheville NC will be manned by Dr. Filth sans Greg Cartwright. Look for more DJ sets from Greg in the near future. Debbie Does WFMU moves to Sundays 3-5 PM. Skipping this Sunday for the WFMU Record Fair at the Bell House. Hope to see you there. Coming soon, Phil Milstein from Probe Is Turning On The People will do a live on tape show on Ichiban.   Ted Barron's show has been cancelled and Matt Fiveash has called it quits so you will hear more trackin', less yakkin' on Thursdays.

Also of note, Reigning Sound have had to cancel their appearance at the Bell House this Friday for the Norton Records benefit due to illness.  Watch this space for the make up show.

Reigning Sound - Straight Shooter

I Thank You

Hold On I'm Coming

Thanks Newton!

Welcome To Sam and Dave Month On Ichiban!

Hank's Last Ride

Sixty years ago today, Hank Williams died in the back of a 1952 Cadillac headed for Canton, Ohio.

In 2003, on the 50th anniversary of Williams' death, the Nashville Tennessean published a superb article by Peter Cooper that includes everything you ever wanted to know about the fateful trip.

From The Cast And Crew At Ichiban

Genuine Parts Co.

Happy New Year!

Jet magazine, 1954.

Exotique Shakers

Here's another one of "those mixes," which could provide a suitably sleazy soundtrack for the upcoming New Year's Eve festivities...plenty of pounding drums, squealing saxes, distorted guitars, pulsing organs & grinding rhythms.  Prospero año nuevo, amigos!

EXOTIQUE SHAKERS mix

Debbie Does WFMU

Sweetest man I've ever known

Tune in today from 3-5 PM for Debbie Does WFMU on the Rock 'n' Soul Ichiban webstream.

Tanoshii Kurisumasu Wo!

Havin' A Cartwright Christmas

Little Joe  -  Santa Got Lost In Texas

Ben Cartwright  -  Stuck In The Chimney

Lenny Kaye Discusses Nuggets

 
Lenny Kaye on the Nuggets LP, released 40 years ago:  "And of course the bottom line is that all of these are great songs. They're just not genre pieces. There has been a lot of archaeological dig in the world of garage since Nuggets. But to me, what made the album initially attractive beyond any musical philosophizing was the fact that every one of these songs were great songs beyond genre."

Hat tip: Allen Larmin.

RUDY RAY DON'T RIDE NO SLEIGH

                     
                      You sho'nuff know he takes a Buggy Ride...

It's a Dolemite Christmas

Night Before Christmas (part one) mp3

Night Before Christmas (part two) mp3

Works Every Time

Milt Jackson & Sly Stone for Schlitz Malt Liquor (:58)

Monkees Mania

Review and Photos: Jacob Blickenstaff

The Monkees, reunited with guitarist Michael Nesmith for the first time since disbanding in 1971 (not counting a few fitful UK dates in 1997), played the final show of their US tour at the Beacon Theater on December 2, 2012. The reunion with Micky Dolenz and Peter Tork came after - and possibly as a result of - the untimely death of Davy Jones last February.

Even while reverting to playful bits of vaudeville humor between songs, The Monkees mostly avoided schtick and focused on the great and under appreciated value of their music (cough, cough, Rock and Roll Hall of Fame, cough). The group dug deeply into album tracks, including sections devoted to "HEAD" and lesser known tracks from "Headquarters," the self-produced album that The Monkees released to assert their autonomy as a band.  This did not detract from their well-loved and exceptionally crafted hits, many of which, as Dolenz pointed out, were written by stellar talents such as Tommy Boyce and Bobby Hart, Gerry Goffin and Carole King, Neil Diamond, Barry Mann and Cynthia Weill, and Harry Nilsson, among others.

Embracing their innovative role within television and film, the stage setup prominently featured a continuous video projection that collaged and referenced everything from campy cash-in TV commercials to clips from the subversive, satirical film "HEAD." Video montages were used twice to pay tribute to Davy Jones, and when it was time for "Daydream Believer" (Jones' signature song) Dolenz invited a young woman from the audience to lead an audience sing-along.

Despite the absence of Davy Jones' irreplaceable charm and charisma, the concert scratched a deep itch on Monkees fans' backs, honoring the depth and creativity of their music while becoming again, for two vivid, flickering  hours, the multimedia pop-culture stars they are.  By embracing both their creative and pop-culture powers (as their best work always has) the concert resolved the paradox of The Monkees;  born inside a cathode ray test tube, they emerged as musical artists yet remained inside the medium, reconciling the artistry and artifice with integrity in a way that no 90's boy band or American Idol has yet to do.

Set List - Beacon Theater, December 2 , 2012
Compiled by Teri Landi

Last Train To Clarksville (Micky lead vocal)

Papa Gene's Blues (Mike lead vocal)

Your Auntie Grizelda (Peter lead vocal)

She (Micky lead vocal)
Sweet Young Thing (Mike lead vocal, Micky on brushes and box)
I'm A Believer (Micky lead vocal)
I'm Not Your Steppin' Stone (Micky lead vocal)

I Wanna Be Free (Davy Jones video tribute)

HEADQUARTERS SECTION:

You Told Me (Mike lead vocal)
Sunny Girlfriend (Mike lead vocal)
You Just May Be The One (Mike lead vocal)

Mary, Mary (Micky lead vocal)
The Girl I Knew Somewhere (Micky lead vocal)
For Pete's Sake (Peter lead vocal)

Early Morning Blues And Greens (Peter lead vocal)
Randy Scouse Git (Micky lead vocal & kettle drum)

Daily Nightly (Micky lead vocal, Mike making Moog synth noises)

Tapioca Tundra (Mike lead vocal)
Goin' Down (Micky lead vocal)

HEAD SECTION:

Porpoise Song (Micky lead vocal)

Daddy's Song (Davy Jones video tribute, dance clip from movie - band synchs to Davy's vocal & original track)
Can You Dig It? (Micky lead vocal)
As We Go Along (Micky lead vocal)
Circle Sky (Mike lead vocal)

Do I Have To Do This All Over Again? (Peter lead vocal)

Davy Jones video tribute (various songs)

Daydream Believer (audience sing along with Micky)
What Am I Doing Hangin' 'Round? (Mike lead vocal, Peter on banjo)

ENCORE:

Listen To The Band (Mike lead vocal)
Pleasant Valley Sunday (Micky lead vocal)

The Human Tornado

From FUNKY CRIMES...radio spot for THE HUMAN TORNADO, plus SOUL EXPRESS - PART 1 by the Ramrods.

Watch out, mister...here comes the TWISTER!

Tassel Twirlers

Here is the finished comp in case you missed any of the tracks.  Thanks to JR for his great cover!

Get_Twirlin'!