This eighth installment of the Original v. Cover series appears one day early this week for perhaps the most compelling of reasons – Martin Luther King, Jr. was born on this day in 1929. Had his life not been tragically ended on April 4, 1968, he could conceivably have celebrated his 81st birthday on this day.  

Today we celebrate the Rev. Martin Luther King, Jr.’s remarkable accomplishments; however, cannot escape wondering what may have been were he still alive today. Although King would most likely be encouraged by the progress that has been achieved since his time, his optimism would no doubt be tempered by an ample measure of concern as well.  

Would he have celebrated the seating of an African-American on the Supreme Court at the behest of a Republican president, no less, on October 18, 1991? Would he have considered his mission to be accomplished with the election of an African-American to the highest office in this land, a term which began slightly less than one year ago on January 20, 2009? Or would his feelings, at best, be mixed?

King would undoubtedly have had much to say about those topics.  And his concerns would without question be shared by many perusing this diary.

If you are truly interested in the meaning of King’s life and what it meant for this country, please consider going to the following wikipedia article, which can be found here. If we choose to listen, we will soon discover that he was not speaking just to the people of that day, but to posterity as well.  His message resonates as much if not more so than it did nearly a half a century ago.

Much will be written and said about the Rev. Martin Luther King, Jr. during this weekend. Those whose abilities far exceed this writer’s humble talents will bring his memory to life for those who slow down long enough to remember, and in some cases, with a combination of fear and courage, consider the challenges that he sets before us in our own time.

For those in want of a quick refresher, here is one of the many excerpts from King’s August 28, 1963 “I Have a Dream” speech, fittingly delivered at the Lincoln Memorial. Fewer among us may be aware that the content of this speech was toned down in response to the concerns of the then president, John F. Kennedy. Malcolm X was among those critical of this event, referring to it as “the farce on Washington.”  

Sadly, one of our country’s great R&B artists passed on today, just over two months shy of his 60th birthday. Theodore “Teddy” DeReese Pendergrass, Sr. was an accomplished R&B/soul singer, as well as a songwriter.  Teddy passed on from this life at 9:59 P.M., less than five hours ago at Bryn Mawr Hospital in Philadelphia.

The Associated Press article appeared on the Minneapolis Star website a couple of hours ago and can be viewed here. Further information can be found here and the biography from his own website can be accessed here.  

The opening two paragraphs of the Minneapolis Star article read as follows:

PHILADELPHIA – Teddy Pendergrass, who became R&B’s reigning sex symbol in the 1970s and ’80s with his forceful, masculine voice and passionate love ballads and later became an inspirational figure after suffering a devastating car accident that left him paralyzed, died Wednesday at age 59.

The singer’s son, Teddy Pendergrass II, said his father died at Bryn Mawr Hospital in suburban Philadelphia. The singer underwent colon cancer surgery eight months ago and had “a difficult recovery,” his son said.

The Original v. Cover offering appears one day early this week, due to an extremely busy weekend schedule ahead. I will try to respond to comments as time allows, but will likely have little time to do so until Sunday evening.  Your patience would be sincerely appreciated.

For most of the songs featured in the six preceding diaries of this series, I was able to narrow down the list of candidates to four or five, however, cannot think of a single version that follows which could justifiably be excluded from the body of this article. Please remember, if you choose to participate in the poll, you can choose more than one favorite.

The featured song last week addressed the matter of U. S. involvement in near continual warfare, which defined almost the entirety of the decade beginning on January 1, 2000.  As we look forward to the next ten years, extending to January 1, 2020, U. S. military action in Iraq persists and significant escalation is planned in Afghanistan.  Future military intervention in other countries looms as a disturbing possibility.  If continued long enough, the United States may well follow the fateful trajectory of the Soviet Union, plummeting into the same abyss, having failed to learn from their predecessor’s untoward experience.  Continued U. S. military action and/or the eventual demise of this country to at least Second World, if not Third World status, will exert varying degrees of impact upon the rest of the world.  Despite this, many nations will likely survive mostly, if not fully intact.  

As we consider the decade ahead, perhaps the most critical matter of all is that of climate change.  As our mother earth’s ability to sustain human life deteriorates, adverse impacts will first be noted in other areas of the world, gradually spreading like a terminal malignancy throughout the remainder of the planet.  We can only imagine the accuracy with which our mainstream news media will disclose these developments to the general public, if this occurs at all.  More and more people will, of necessity, be crowding into continually shrinking areas of land, thereby reducing the amount of the earth’s surface available to produce that which is necessary to perpetuate life.  Those newly encroached upon by incoming refugees may not always welcome their new neighbors with open arms and may not be willing to share their meager food and water supplies with their recently arrived guests.  We can imagine the results, however much we may wish not to engage in such an uncomfortable exercise.

As the first decade of the new millennium draws to a close, identifying that one song which captures the greatest challenges now threatening our nation was an exceedingly difficult task.  Two of the most daunting issues before us, and ultimately the rest of the world, are warfare and the environment.  I could not find a song that captured both. So this week’s selection will address the former; next week’s the latter.

The United States is arguably the primary aggressor in the world today, maintaining a “defense” budget that, by some accounts, exceeds that of the rest of the world combined.  Our country is currently embroiled in two major military actions on the opposite side of the globe, presumably to “keep us safe.”  

To the extent that the official accounts of 9/11 are valid, the 19 hijackers came from the following countries:  15 from Saudi Arabia, 2 from the United Arab Emirates, 1 from Egypt and 1 from Lebanon.  The United States immediately identified Usama bin Laden as the mastermind of these attacks, although to this day, even though bin Laden is included on the list of 10 Most Wanted Fugitives, the FBI website makes absolutely no mention of his being wanted in connection with the events of 9/11, as can be seen here.  

“Silent Night” aka “Stille Nacht”, was first performed at the Nikolaus-kirche (Church of St. Nicholas) in Oberndor, Austria on December 24, 1818, and is perhaps the best known of all Christmas carols, having been translated into at least 44 languages.  The melody was composed by Austrian headmaster Franz Gruber and the lyrics by Austrian priest Father Josef Mohr.

Stille Nacht was originally written as a “sprightly, dance-like tune” in 6/8 time, in marked contrast to the slower, “meditative lullaby” that is so familiar in the present day. The melody of “Stille Nacht” has been described as sharing aspects with Austrian folk music and yodelling of that time.  

According to historical accounts, Mohr wrote the lyrics two years earlier, in 1816.  During Christmas Eve of 1818, the church organ was apparently not working, so Mohr approached Gruber, asking him to compose a melody and guitar accompaniment for the church service that evening, which eventually became the tune that we so often hear today.

During World War I, “Stille Nacht” was sung together by both English and German troops, in their own native languages, during the Christmas Truce of 1914, since it was one of the few carols familiar to soldiers on both sides. This most incredible event would be, without question, worthy of a separate diary in its own right, and must surely have been one of the most profound moments in the history of warfare.  This astounding lull in the war provided the basis for a 2005 French film, “Joyeux Noël”, which was nominated for the Best Foreign Language Film honor at the 78th Academy Awards.  

I rarely find myself overcome with emotion upon hearing music, however, the version of this song by Mannheim Steamroller still produces a noticeable lump in my throat.  I can’t imagine that I’m alone in this regard, however, I would welcome comments from anyone else who takes the time to listen to this most incredible rendition of “Stille Nacht.”

Without further ado, here is the Mannheim Steamroller version of “Silent Night”, accompanied by a beautiful light show — the northern lights (aurora borealis) over Norway:

After publishing this essay earlier today, and then attempting, after the fact, to add a poll, two extensive efforts to produce a comprehensive diary have vanished into the netherworld.

As always, this writer thanks wikipedia for the serving as a wonderful font of information, both in general, and more specifically, as a resource for this diary.  Please refer to that site for further detail.

As we approach what is literally the longest night of the year, on Monday, December 21st, we are reminded of the ageless traditions surrounding the Winter Solstice. For many ancient cultures, at least those residing in the Northern Hemisphere, this marked the anticipation of longer days ahead.  The return of increased warmth and sunlight were an absolute necessity to grow the food critical to sustain life.  The Winter Solstice marked the final celebration before that annual eternity during which the question of survival during the months ahead was asked anew.  Those at the time hoped that the provisions already set aside would be sufficient until the earth again reawakened from that long slumber, to again produce that bounty so vital for life to continue.  They were acutely aware that the months of January and April oftentimes brought increased death from starvation.  The Winter Solstice was a time when livestock were typically slaughtered, primarily to preserve precious food stocks.  This was then one of those rare occasions during the year when fresh meat was available.  

Many of us are now fully engaged in the “spirit of the season”, swept away by the merriment of the decorations and bright lights; nonstop gatherings with family and friends; the reassuring, soothing strains of Bing Crosby crooning “White Christmas”; appreciating Jimmy Stewart’s performance in “It’s a Wonderful Life”; and the numerous other traditions that mark this time of the year.  For those multitudes, this season provides a welcome annual respite from the usual cares of the world, when we are reminded to focus on that which is “near and dear to us.”  Despite one’s best efforts and intentions, reality all too often falls far short of expectation, to find that ever elusive Holy Grail, the “perfect” holiday season,such as those that play endlessly on television during December 24th and 25th.  

Millions in this country, those teetering on the cusp, are rightly wondering, given present challenges, whether these days will mark the happiest holiday season they will experience for the remainder of their lifetimes.  For them, that temporary departure from reality can serve as a soothing distraction from the dark, threatening clouds that loom so omninously on the horizon.

And then there are the many millions, joined by legions of newcomers, involuntarily conscripted into the growing hoards of those overcome by sheer desperation.  They, too, will search in vain for signs that the seemingly endless period of darkness, which for them began months or years ago, will one day end.  

For those who no longer have a roof over their head and wonder where the they will find their next meal, any chance encounter with the merriment of the season must seem a cruel mockery of their destitute condition.  Our own government, which to varying degrees in the past provided real, meaningful assistance to those in need, has been hijacked by greedy corporate interests, dedicated solely to personal enrichment, heedless of the cost to others. Hard earned tax dollars that were turned over year after year to provide a social safety net, along with borrowed billions, are increasingly diverted into the outstretched hands of those least in need of help.  

Some of us may have become desensitized to the travails suffered by those afflicted by poverty, as portrayed in annual productions of Dickens’ “A Christmas Carol.”  Witnessing such woe on the silver screen, television or on the stage is one matter.  Living it is an entirely different proposition.

At this time of the year, we cannot escape the plenitude of happy, upbeat holiday tunes, at stores, on television, or for those unfortunates, just outside their front door.  Speaking of the latter, has anyone else yet become incensed with those who are not satisfied with just elaborate lighting displays, but are seemingly compelled to add outdoor holiday music. played for hours on end, enthusiastically sharing these tinny, annoying renditions with their entire neighborhood?  

Rather than follow that lead, I will provide an alternative, evoking a mood more in keeping with the long night that lies immediately ahead for many, both in a literal sense two days from now, and in a figurative sense, most likely for the next few months, years or longer.  It is in that spirit that the following song is presented this week.

The featured song this week never appeared in the Top 40, however, many will experience instant recognition within two or three bars, if not sooner.

This song has been extensively covered, making the narrowing down of choices this week exceedingly difficult. Despite my previous rule of nor more than four choices, I find it impossible to not add a fifth this week. If I was asked to pick a favorite, at various times, I could quite possibly choose any or all of the five.  I would have to say that if it weren’t for the pioneering work of its original performer, however, the others that have followed would likely not be possible.

This song is rated at #101 on Rolling Stone’s list of 500 greatest songs of all time. The guitar solo was designated as the 11th greatest solo of all-time in Guitar World’s 100 Greatest Guitar Solos’ Guitar Legends, Issue #46.  The original peformer appeared six times on this list, more than any artist on that list.  This number was recorded in 1968, and was re-released as a single after the death of the composer in 1970. It was the A side on a three-track record, and reached Number 1 in the UK.

I cannot provide the information that follows without revealing the identity of the song, which is… Jimi Hendrix’ Voodoo Child.  

The following quotes, in part, reflect the widespread admiration others had for Jimi Hendrix’ trailblazing work.  

As found on wikipedia:

The genesis of “Voodoo Child (Slight Return)” was essentially in “Voodoo Chile”, a long blues jam featuring guest Steve Winwood.[2] On May 3, 1968 (the day after “Voodoo Chile”‘s recording), a crew from ABC filmed the Jimi Hendrix Experience while they played. As Hendrix explained it:

[S]omeone was filming when we started doing [Voodoo Child]. We did that about three times because they wanted to film us in the studio, to make us-“Make it look like you’re recording, boys”-one of them scenes, you know, so, “OK, let’s play this in E, a-one, a-two, a-three,” and then we went into “Voodoo Child”.[3]

On the Band of Gypsys live album Live at the Fillmore East, Hendrix referred to the song as the Black Panthers’ national anthem.

Joe Satriani identified Voodoo Child as his favorite guitar solo, stating:

“It’s just the greatest piece of electric guitar work ever recorded. In fact, the whole song could be considered the holy grail of guitar expression and technique. It is a beacon of humanity.”

And Kenny Wayne Shepherd added the following:

“This is pretty much the guitar anthem of all time. From that amazing opening riff to the way he breaks it down in the middle and gets funky, the whole thing is incredible. There are things Jimi did on the guitar that humans just can’t do. You can try all day, even if you’re playing the right notes, it’s not the same. It definitely seems as if he was coming from a higher place when he played.”

Without further ado, here is but one of many renditions by Hendrix to be found on the web:

The legendary Stevie Ray Vaughn greatly admired Jimi Hendrix, perfoming cover versions of several of Hendrix’ songs. This represents one of Vaughn’s versions of Voodoo Child:

The next three performers are perhaps not as well known, however, I would encourage those reading this article to at least listen to a minute or two of each version, since they each include a unique feature setting it apart from the far more prevalent attempts to emulate Hendrix note for note.

Joe Satriani, Steve Vai, and Yngwie Malmsteen combine to provide a little different twist.  Malmsteen’s gritty vocals add a jagged edge to this song, and the triple lead work toward the end is truly something to behold!

When we think of pedal steel guitar, we might initially imagine a perfomer who is at least fifty or older,complete with the requisite paunch, cowboy hat, and bolo tie, accompanying music whose lyrics pay homage to repossessed pickup trucks, bar fights, unrequited lust, and being so down in one’s luck that his own dog refuses to acknowledge him. Robert Randolph literally destroys every single one of those conceptions. Please check this out, you’ll be glad you did!

Finally, speaking of a relative unknown, at least on a national scale, Geoffrey Castle would seem to fulfill that description. Voodoo Child on the violin?  Since I discovered this version, and sent it on to others, I think the number of views on youtube has doubled, to something like 18 as of this morning. This also rates as another rendition that must truly be seen to be believed!

Please vote for one, two or all five if you feel so inclined. Or add your own favorite rendition, including your reasoning in the comments section.

Enjoy, and a Happy Winter Solstice to all!

The featured number this week was released on May 24, 1968, and was referred to as “supernatural Delta blues by way of Swinging London” by Rolling Stone.  This song was hailed as evidence of the band’s return to their blues roots after the psychedelia of their preceding albums.  This hit reached #1 on the UK charts, #3 in the United States, and was the most played in concert of this group’s extensive and impressive repertoire.  

In 2004, Rolling Stone rated this song 124th on its list of 500 Greatest Songs of All Time.  In March, 2005, Q Magazine placed this superhit at #2 in its list of 100 Greatest Guitar Tracks. VH1 placed it at #65 on its show “100 Greatest Rock Songs.”

So, without further ado, the featured original this week is the Rolling Stones’ “Jumpin Jack Flash.”