The One-Hit Wonder Wonder

If we held a One-Hit Wonder Sweepstakes, I’d enter William DeVaughn, place some side bets, and clean up.

Let’s specify the rules for deciding the most wondrous one-hit wonder. First, it has a to be a big hit. It has to come out of every passing car’s radio. It’s got to rule the charts. Second, the artist has to become a trivia question. Nearly immediately is good, but anonymous in real time is even better. I give you: William DeVaughn.

The song was universal in the summer of 1974. Number 1 R&B, Number 4 Billboard. Sold two million records. Obscure artist? You bet. Everyone always thought it was a Curtis Mayfield hit. But even though no one knows William DeVaughn’s name, and prolly never did, I’ll bet a healthy plurality of people to this day start singing along when they hear:

Diamond in the back, sunroof top
Diggin’ the scene with a gangsta lean

Of course everyone has always gotten the line wrong, and sings digging the scene with the gasoline. If you’re wondering what the hell a gangsta lean might mean, allow me to define it for you, because, stewardess, I speak jive. Plop your hand at 12 o’clock on the steering wheel. Fingers are OK, but using your wrist is best. Lean hard to your right, preferably with your elbow on the center console of your Olds 442, or maybe your Caprice Classic. Ideally, your Monte Carlo…

Oh, the hell with it. Just watch Denzel drive.

It’s common for one hit wonders to toil in the vineyards of music for years, banging their heads on various recording studio or barroom walls, until something finally clicks. We could illustrate that with, oh, I don’t know, how about Sugarloaf? They had a big one-hitter with Green-Eyed Lady, but that was after first plowing the musical fields without much of a crop to show for it as The Surfin’ Classics, then The Classics, then The Moonrakers, then Chocolate Hair, and finally Sugarloaf.

Not so our friend William DeVaughn. His previous experience in the music business was, well, not the music business. He was a Jehovah’s Witness. He worked as a draftsman for some government agency or another. I was in the music business for quite some time, in a modest way, of course, but I don’t remember playing with many people who had a T-square and a protractor at home. Well, besides me, I mean.

With a resume like that, it’s hard to break into the music business. William did it the old fashioned way. He paid $900 of his own money to some record producers in Philadelphia to make a demo of A Cadillac Don’t Come Easy, the original title he had for the song. It might not have sounded like something, but apparently it sounded like something that could sound like something. Luckily, they had MFSB hanging around. I’ll let Wiki fill you in who that was:

MFSB, officially standing for “Mother Father Sister Brother”, was a pool of more than 30 studio musicians based at Philadelphia’s Sigma Sound Studios.[2] They worked closely with the production team of Gamble and Huff and producer/arranger Thom Bell, and backed up Harold Melvin & the Blue Notes, the O’Jays, the Stylistics, the Spinners, Wilson Pickett, and Billy Paul.

Some portion of that wild bunch eventually started calling themselves TSOP (The Sound of Philadelphia), and had their first hit with the Soul Train theme. Even if you watched Community Auditions instead of Soul Train when you were nursing a hangover on Saturday mornings, you’ve heard those dudes. That’s them sawing away behind the O’Jay’s in Love Train, among a metric tonne of other hits. They turned William’s idea into a stone groove.

Of course the lyrics confuse everyone, as lyrics often do. They assume William was extolling the gangsta culture, but DeVaughn wasn’t giving a shout out to the various Huggy Bears of the world, who actually drove great, big Cadillacs. His intended audience was regular people who may not have a car at all. So remember, brothers and sisters, you can still stand tall. William DeVaughn said so, and for three minutes and forty five seconds, you could roll down the window, drive slow, and believe it.

Are You a Farmer? Are You a Star?

Wet Willie on the Midnight Special back in 1974. Aw yeah.

To modern ears, the musical production can sound  “thin.” Recent recordings don’t have any dynamics in them anymore. It’s mixed to make every second of it just as loud as every other second. There’s not much air in it anywhere these days. Not so back in the day.

The voices in the video are just straight into an SM 58 microphone with some reverb. I don’t know any singer that could get along like that now. It’s all pitch corrected, and flanged, delayed and chorused, and who knows what-all to make fourteen voices in a cavern out of any old mumbling that goes into the microphone. You can actually hear Jimmy Hall, and the two off-duty stewardesses, singing the song. It’s a bit of a treat. Bar band writ large.

I doubt any of their amplifiers had a direct line out, to go straight into the mixing board to be processed and sent out through the venue’s bigger sound reinforcement system. I remember buying my first bass amp head in the 80s that had a direct out. It made it easy for the sound man to put me straight out of the PA speakers. My amplifier and speaker weren’t hernia-inducing anymore after that. That’s why the Ampeg bass stack you see in the video is five feet high. It’s gotta make enough noise to hold its own with an electrified band, basically unaided. That’s also why it sounds kinda woolly. Playing with a pick doesn’t help.

The guitar player is playing through some kind of Fender amp you can see there on the floor behind the keyboard player, next to the keyboard amp. A Twin, or a Vibrolux or something. It’s got another SM 58 slung over the amp and hanging down in front of the speakers, to feed the mixing board somewhere offstage. That’s Old Skool sound reinforcement right there.

Every drum is miked nowadays, when it’s not entirely a drum machine, anyway. Back then, you can see the drummer has the classic three-mike setup, with one mike pointing at the space between the snare and the hi-hat cymbals, another one pointed at the drum head of the kick drum, placed on the floor in front of it, and a third on a boom overhead that takes care of the floor tom, the mounted tom (there’s only one, how many do you need?), and the ride cymbal. My children were always short of microphones and had the same setup when they recorded or performed live with their own equipment. It’s all you need, really.

Wet Willie is classified as Southern Rock, but I dunno. It’s as good a handle as any, I guess. They were on Capricorn Records, and opened for the Allman Brothers, so. This song itself is kinda unclassifiable.

The band was a bit of a family affair. Jimmy Hall is singing and playing the harp, his brother is playing bass, and his sister Donna Hall is singing backup. The band used to perform supercharged covers of things like That’s All Right Mama by Arthur Big Boy Crudup.

Like a lot of blues songs, Keep on Smilin’ isn’t overtly a happy song. It sneaks up on you. It’s a form of communal hardship, A problem shared is a problem halved, right? It’s a recitation of common woes, and an exhortation not to let them get you down. The verses of the song are sung over a kind of herky-jerky rhythm that’s as disjointed as life’s little foibles. Then he leads into the soaring bridge with the exhortation: Keep. On… and the girls sing like angels with dirty faces and everyone feels better and you can just float away on it if you like.

Jimmy’s outfit, however, is beyond description, never mind explanation, so I won’t attempt it. Are you a farmer? Are you a star? Indeed.

I Scare Myself

There are certain levels of creativity that transcend technique.

I don’t like nearly all modern painters. But have you ever stood in front of a Van Gogh? It’s terrifying stuff. There is technique in it. He did his thing, over and over, always pushing forward, getting faster, further out, until he was simply expressing himself directly. He was deranged. If art is a look into another man’s mind, he gave us a peek into a maniac’s thought process. For example, you don’t critique his painting of the postman. You deal with it.

I think it’s twice as ghastly because he liked the guy. This is my friend. his fingers are turning into snakes. 

Just when you’re reeling from that sort of thing, he announces he can take it up a notch, or ten if you’re interested. Lucy in the Sky With Diamonds got nothin’ on him:

Moving on, what, exactly, made titanic egoists like Hemingway, Joyce, and Eliot flop on the floor in front of Ezra Pound, and declare him “il miglior fabbro“? It’s from Dante, and means “the better craftsman,” or something close to that.

In a Station of the Metro

The apparition of these faces in the crowd:
Petals on a wet, black bough.

—  Poetry (April 1913)

There’s audacity figured into all this. Some people are good at eliciting gasps. Pound sure did. But audacity alone is just shamelessness. Madonna and a million other talentless people show you what 100 % audacity and a certain moral flexibility, bordering on contortion, can yield. It ain’t art.

The video is Dan Hicks, along with some agglomeration of his Hot Licks. I’m not sure what it takes to put  yourself out there like that. He had the chops to be normal, but not the desire. He’s one of those people who needed to sail over the horizon, to see what’s out there. The danger, of course, is that no matter how far you go, the horizon remains the horizon. Whatever. At least he had time to break off rock music’s femur and beat it over the head with it while he was sailing along.

I got up at 3:30 this morning because I had to write something, or die trying. It was about the 1970s. In the dark, alone, sweltering in the silence, I scared myself, just thinking about it. I stopped for a moment to salute il miglior fabbro.

Y Te Da Felicidad

Well, they called it a Country song. I guess it was, at least before Freddie Fender got ahold of it. Then it became another country song. It had been recorded by a bunch of people, including Jerry Lee Lewis, but no one remembers that now.

The Freddie Fender version was a throwaway afterthought. A record producer wanted a version with Spanish lyrics mixed in, so he hired Freddie to sing it. “I was glad to get it over with and I thought that would be the last of it”. It made it to Number One on the Billboard Hot 100 in 1975, and was the fourth most popular song of the year. After that, pretty much no one knew Freddie had ever sung anything else. The music business is like that sometimes.

It Is Never Too Much. It Is Only Not Enough

I had this friend when I was a kid. Let’s call him Fish. Lost track of him many years past. He was a hoot. Fish might be an example for us all. I’ll explain.

His family was a huge Irish affair. There were something like eight of them packed into this little split-level ranch. Eventually, the older siblings got married, and their spouses moved in, too. I swear you could see the walls of the house breathing in and out with their respiration. Their septic system spawned an Okefenokee in the side yard.

Fish was a rough and tumble kid. His parents would send him outside in the spring wearing nothing but a pair of jean shorts, cut off raggedly from some pair he burst through at the knee on their first day in harness. He’d stay like that until the first frost. He was barefoot, wild, and free. I was never any of those things. He was the neighborhood Huckleberry Finn. I guess that makes me Tom Sawyer. If there was a Becky Thatcher, she kept indoors.

But not Huck, really. Huckleberry Finn was uneducated, if not dull, and simply had some version of moral genius to carry him along. If my friend, Huckleberry Fish, had any morality in him, it wasn’t visible underneath the carapace of dirt he was coated with. He’d never do anything bad, mind you. He was simply a wildman. Two different things. Morality doesn’t enter into it.

My friend was smarter than the other kids, too, not just a knockabout waif. His family would play cards to amuse themselves, just like ours did. Whist was the game then. It was our lower middle class version of playing Bridge. Bridge was strictly for dentists or Presbyterians or something. Whist requires a non-Vegas-level, but high requirement to count cards, and remember what’s already been played, and who played it. It’s fast and fun, with an element of audacity in bidding based on mental arithmetic. There’s a single round of bidding after the deal, to determine who calls “trumps” (the suit that “trumps” the others), and who gets to swap the four hidden cards in the kitty for their worst cards. If you’re bold, you can leave your opponents holding a handful of cards they could beat you with if they won the bid, but were too timid to bid high enough.

I was very, very good at Whist. It appealed to the analytical part of my mind. Fish was a wizard at it. He’d sit there, dressed like a coolie, dirty, teeth spaced like headstones, a hayrick of hair hanging in his eyes, and beat the pants off all comers. It was all I could do to keep up with him. Likewise, he looked out the window all day at school, but passed all the tests anyway. I know intelligence when I see it. I’d recognize a Bigfoot, too, on sight, because it’s about as rare.

I could tell many stories about Fish. People like him spawn many wild tales as they swim up the stream of life. But there’s one that comes to mind that explains him to a T, and is perhaps a lesson for us all:

We rode bicycles all the damn time. All over, everywhere. We delivered newspapers. Rode to the little convenient store and bought bread and milk for our moms and enough candy bars for ourselves to make Bridge-playing dentists rich.  Whenever there was nothing to do we’d ride bicycles to get to the place to not do it.

There were dogs all over the place back then. Maybe even more than now, if that’s possible. People used to treat their dogs like pets, though, not like hemophiliac children that need to be carried everywhere and get their food catered. They’d tie them up in the yard, play with them from time to time, or just let them roam around some. When we rode our bikes, getting chased by dogs, snapping at your heels, was pretty common. We’d just smirk and ride on by when the little yipyip dogs took a run at us. We learned pretty quickly where the biggest beasts that could do some damage were prowling, and avoided riding past their houses.  Eventually, I got a ten-speed bike, and it had one of those hand air pumps that fit between two pins on the bike’s frame. It made a pretty handy billy club, if a little light. Swinging it wildly was enough to keep most Cujos at arm’s length.

One day, Fish and me were riding far afield, and encountered a substantial canine on the loose. German Shepherd. He came tearing after us, snarling and slavering, all business, if your business was the perimeter fence in a prison camp, anyway. I was a timid soul, and my mind shifted back and forth between pedaling faster and reaching for my pneumatic billy club. Fish wasn’t having any of it. He stopped dead, threw his bike on the tarmac, and started snarling and barking right back at the dog, which had closed to maybe ten yards. His canine brain (the dog’s, not Fish’s) couldn’t process this turn of events. Surprise is an unusual expression on a dog’s face, but he had it. But Fish was just warming up. He started chasing the dog.

The beast shied, and flinched, and then scampered away with that skulking, circuitous motion dogs get when they get a rap on the nose. Fish never wavered. Just went after it like a missile. The dog switched from confusion to plain terror, and finally tried to bolt in a dead run. Fish tackled it, grabbed two fistfuls of the fur on its back, and bit it, hard, on the ass.

What a howl that dog let out. Real terror, the kind brought on by a combination of pain and fear and confusion. The dog lit out like it was on fire, and Fish calmly walked back to his bicycle, and we rode off. He didn’t say a word about it. It was just business, as the mobsters used to say. We rode our bikes many times past that same house, untroubled from then on.

Sometimes, as Pascal in Big Night so colorfully expressed, you have to sink your teeth into the ass of life, and drag it to you. It is never too much. It is only not enough. Lately it’s occurring to me that everything good in my life has happened when I channeled my inner Fish, and sank my teeth into the ass of life, and dragged it to me. I’m thinking of doing it again. The dog’s going to bite you anyway. Might as well go for it.

Tag: 1970s

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