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Did Juno?

I wonder what Peter Frampton, Toni Tennille and John Travolta did with their Juno Awards.

The Junos, as you probably know, are basically Canada’s equivalent of the Grammys. They’re bestowed each year by the Canadian Academy of Recording Arts and Sciences to encourage and recognize the successes of Canadian artists in a variety of genres.

Since the awards began in 1970, most Canadian-born performers who have found a commercial foothold in America have taken home a Juno at some point or another. The list of past recipients ranges from Glenn Gould to Loverboy, from Oscar Peterson to Shania Twain, and from Bruce Cockburn to Bob & Doug McKenzie.

What I didn’t know, until today, is that the Junos have also handed out awards honoring the best-selling “international” single and album of the year — (this bit edited for clarity) which is to say, the top-selling single and album in Canada not recorded by a Canadian artist.

For a brief time, the Junos honored the “best international artist,” too. (Not sure if the artist award was based on sales, or was a value judgment.)

So, while the vast majority of Junos have been awarded to sons and daughters of the true north strong and free, a handful have been given to people whose only connection with Canada was touring there.

When I first read about that, it seemed like an odd bit of scope creep, giving these definitively Canadian awards to non-Canadians. The whole point of the Junos, after all, is to recognize the contributions of Canadians.

But I suppose these “international” awards don’t hurt anybody. They don’t change the scope and intent of the Junos as a whole. They don’t take awards away from Canadians. And they make for a good trivia tidbit.

If I had a Juno Award — the old ones look like metronomes, while the new ones look like human figures — I’d do with it what Bob Dylan does with his Oscar: I’d take it on tour with me and put it onstage in a different place each night.

Dylan can’t do that with a Juno Award because he’s never won one. But the following furriners have. (The list is not complete.)

-Frampton for Frampton Comes Alive!, international album of the year, 1977

-Australia’s finest, Men at Work, for Business As Usual, international album of the year, 1983

-Various artists, for the Dirty Dancing soundtrack, international album of the year, 1989 (I hope Eric Carmen got a Juno, though I have a sneaking suspicion he didn’t)

-Milli Vanilli, for Girl You Know It’s True, international album of the year, 1990 (like their Grammy, this one was later taken away)

– The Captain and Tennille, for “Love Will Keep Us Together,” international single of the year, 1976

-Leo Sayer, for “When I Need You,” international single of the year, 1978 (beating out Elvis Presley’s “My Way;” I’m sure a posthumous Juno would have looked nice in the awards room at Graceland)

-Travolta, with Olivia Newton-John, for “You’re The One That I Want,” international single of the year, 1979 (can’t get much more international than an Aussie and a ‘Murican singing together, can you?)

-Supertramp, for Breakfast in America, international album of the year, 1980 (can’t get much more international than a band of Brits singing about America, can you?)

-Pink Floyd, for The Wall and “Another Brick In The Wall,” international album and single, 1981  (Nick Mason has two international Junos, so stand him a round next time you see him, huh?)

-The Rolling Stones, International Entertainers of the Year, 1991 (putting them ahead of their British Invasion rivals, the Beatles, who never won one as a group, though Lennon and McCartney have won one each — Lennon’s posthumously — as solo performers)

-Fittingly for an award given to foreigners: Foreigner, for “I Want To Know What Love Is,” international single of the year, 1985

What’s spinning.

I may have to come to terms with the idea that I like some music as much for the backstory as for the music. Seems wrong, but that’s how it works sometimes.

That’s how it’s working for my current commute-and-free-time music — a recording of the Jerry Garcia Band performing a benefit concert in Santa Rosa, California, on June 23, 1977. The show itself is OK to pretty good, but the tidbits behind it are more interesting. (Some of this info comes from a post on the Dead-themed blog Jerry Garcia’s Middle Finger.)

Such as:

-While a second set from this date has circulated, this is apparently the first time the first set has made it into collector-land.

Just to complicate things, the JGB apparently played two shows that night in support of Maria Muldaur. So what we have could be the first set of one show and the second set of the other.

No matter. Even after all these years, I enjoy the thought that unheard recordings are still making their way out of basements, attics and closets. I hope it continues for a while yet.

-The Jerry Band’s regular drummer in June 1977 was Ron Tutt, the powerful Texan who’d become a well-known name in 1969 when Elvis Presley picked him to anchor his TCB Band.

Tutt continued to play with Elvis as well as with Garcia … and on this particular night, he couldn’t make the JGB gig in Santa Rosa because he was backing Elvis in Des Moines. In fact, June 23, 1977, would be the last night Tutt ever performed with the man who launched his big-time career. (Elvis’s last show ever was June 26; he played his last two or three shows with fill-in drummers.)

Perhaps as tribute to their missing bandmate, the JGB played a nice version of “Mystery Train” on the newly circulating tape. Although the JGB was a much smaller outfit than the ensemble Elvis brought on stage, their version of “Mystery Train” catches a little of the vibe Elvis used to get when he opened with “C.C. Rider” — some of that all-American, white-gospel, go-to-meetin’, everybody-clap-on-two-and-four groove.

-The JGB’s fill-in drummer that night was a San Franciscan with a resume at least as interesting as Tutt’s: Greg Errico.

Errico is best remembered as the drummer on the classic records of Sly and the Family Stone. (Remember Sly singing, “All we need is a drummer / For people who only need a beat, yee-ah”? That’s Greg Errico. He’s the guy throwing down on “Thank You (Falettinme Be Mice Elf Agin),” too.)

His other touring and recording credits are almost absurdly broad, ranging from David Bowie and Weather Report to David Soul and Bill Wyman. He would also spend a stint or two as the JGB’s full-time drummer a few years up the road.

Unfortunately, we don’t get to hear him drop any funk on this recording — his playing is professional but fairly anonymous. Which is just as well, since no one was there to hear Greg Errico anyway.

-The JGB and Muldaur played in the Santa Rosa High School auditorium. And while this might be a case of my mind hearing what it wants to hear, I think the tape sounds like a high school auditorium … it has a certain combination of low-end boom and high-end piano tinkle that just sounds to me like a high school auditorium.

If you’re a high-end audio buff, that idea won’t thrill you. If the idea of well-known musicians playing a small local room to support a cause close to their hearts  appeals to you, you won’t mind the sonic shortcomings of the tape.

(I wonder if the JGB’s Keith Godchaux is playing the school’s piano? One wonders whether it would be worth it to truck his own grand piano to a high school just to play a charity gig.)

-So how’s the show itself? There are only six songs — all nine minutes or more — and they break down into three categories:

The ballads (“Sugaree” and “Catfish John”) work pretty well if you like slow Jerry ballads. I’m not the world’s biggest fan of either tune but I liked these versions.

The reggae tunes are pretty poor. The 12-minute cover of Bob Marley’s “Stir It Up” with Donna Godchaux on lead vocal is death by a thousand cuts. The version of Jimmy Cliff’s “Sitting In Limbo” just kinda, well, sits in limbo; it doesn’t go very much of anywhere.

The “upbeat” tunes (“Mystery Train” and “The Way You Do The Things You Do” — and remember, “upbeat” is a very fluid and relative term when applied to the Jerry Band)  are pleasant, even delightful in spots.

Not even stoned, lethargic hippies can deflate the pure pleasure of one of Smokey Robinson’s greatest pieces of work … and when Garcia starts channelling Chuck Berry in the closing jam, you get two American geniuses for the price of one.

Maybe I’ll go listen to that one again.

Newborns still crying in pain.

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flame cubes, you are free again
Who can love, and you do,
Dressed in black, he will not return
Keep your tears, you have many years
Pain in the seventies
Although these are only dreams
Save tears today

Pretend you think it’s over,
Since you goodbye
Pretend you think it’s over,
I’ll tell you why
Newborns still crying in pain
At first glance, the morning sun
You’re an idiot if you think about it
It starts just

Miss Teen dream, a game so tragic
He struck a crown fled
Firstly wounded pride and way calling, it takes
But keep the tears, you have many years

Pretend you think it’s over,
Since you goodbye
Pretend you think it’s over,
I’ll tell you why
Newborns still crying in pain
At first glance, the morning sun
You’re an idiot if you think about it
It starts just

I’ll buy the first wine you
We’ll have a good time
Save tears today
It can not come, but all
Everyone will pay laughed and said:

Pretend you think it’s over,
Since you goodbye
Pretend you think it’s over,
I’ll tell you why

Only we can adopt to meet or better.

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If you do not know me now
You never know

These things went through
You have to figure out how I understand you
Now, girls, I know the difference between right and wrong
I will do everything to be happy to break our
To not get so excited when I arrived a bit late in the evening at home
Since we work in the same way as a child when we talk about conflict and war

If you do not know me now (if you do not know me)
You do not know me (you do not)
If you do not know me now
You never know

We all have our own humor funny
I have my wife, you should also take into account
Believe me, as I trust you
While we were together, it would be so easy to do
Only we can adopt to meet or better
What good is a love story, if you can not see your eyes, Oh

If you do not know me now (if you do not know me)
You do not know me (you do not)
If you do not know me now (you never know me)
You never know me (Eva)

ten years

The children are just stuck.

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I stand on the edge,
Briefcase in hand.
Jack in his car, Jane, who in the West, he said,
Meg, honey, I rock ‘n’.
Ridin ‘in a Stutz BEARCAT, Jim,
They were different times.
With a number poet studied glass
And all the women roll their eyes
Sweet Jane, Sweet Jane, sweet Jane
Now, Jack, is a banker,
Jane committed.
With both save money …
Then they come home from work.
Sitting on fire …
Radio some classical music for children,
The pace of three soldiers
And you can hear Jack say
Sweet Jane, Sweet Jane, sweet Jane
Some people like to go dancing
And others (like us), should work
Show me now
And still have bad mom
They will tell you that life is full of dirt.
Women do not stop,
And staff always brilliant.
The children are just stuck.
Life is simply to die for.
But anyone who has a heart
I would not go into break
Those who played the role,
It should not hang level
sweet Jane

I stretched.

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yeah, I know, it’s no fair doing the translate-through-seven-languages thing with songs that don’t make a lot of sense to start with.

Race of Angels
Connect with public
dollar flat
Available for all
Tower Room Eden Rock
Free meals for your golf
Brooklyn is good
I stretched

The pain of his wife
carried over
He preaches daily
Where they want to be
An evening watching a movie queen
We saw that we all face
Brooklyn is good
I stretched

In case of aces
Earth is directed towards treatment
Piece cooling of Sea Island
When you win or lose
But choosing power
Brooklyn is good
I stretched

What is it? Here is where?

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Oh, hell, one more. Same drill as the preceding 14.

How not p.l.p. I ‘
Below me?
And how this T. V.
He hung the sign on the door?
Well, we call and conversation
“How?” we say
Hey, what a child can do it?
He learned all the lines now
And each time he had a stutter when talking
And it’s true! That’s true!
He did it inspirational kind of cool about jazz when he attended
Where blue jean jacket is old?
If this is not healthy, it’s a little cleaner?

This means that Chuck A. Love
Chuck E. Love
Chuck E. Love
Chuck E.

I do not what you say,
It’s something I did,
Is it here?
I look happy
Now he’s here?
I looked at the pharmacy
Is it here?
Name, it comes here more

I’m telling you, I saw,
He sat behind Pantages
And all that he did his sleeve
I hope it’s not contagious
What is it? Here is where?
My God, I think he combed his hair still
That’s it? What is it?
Oh, it’ll never be the same
To achieve this, it is not
I know it’s fake
Because Chuck E. love with the girl who sang this song
You do not know Chuck A. Love
Chuck E. Love
Chuck E. in love with me Chuck E.