3 Chords & the Truth: Yet, we persist

This edition of 3 Chords & the Truth starts out by cleaning up -- or fervently hoping we'll have the opportunity to pick up, sweep up, mop up and wash up after this fine mess we've made for ourselves in these Benighted States of America.

This comes after your Mighty Favog was forced into a week away from the turntables and the microphone, because the doctor was afraid he'd contracted COVID-19 despite his paranoia about catching the Trump virus. The test was negative, but because the test ain't the greatest, there was a week confined to the bedroom and away from the studio.

Here's hoping to make up for lost time here on the Big Show.

And despite everything . . . we persist.

Our backs are against the wall. Yet, we persist.

We will persist. And we'll persist to a hell of a soundtrack, right here on this here program.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Push back

“Push back against the age as hard as it pushes against you."

-- Flannery O'Connor

That goes double in these times of fascists, cranks, the plague and a radically deviant conception of "freedom" and "liberty."

If 3 Chords & the Truth has to turn into some sort of Resistance podcast, so be it. This thing -- meaning America -- has gotten out of hand, and we'll be lucky to live through it.

We'll have to hope and pray that we get lucky. While we're waiting to see, the Big Show will have some great music to salve your soul just a bit.

Push back like hell, my friends.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Same old song

It's the same old song. Second verse, same as the first.

And here we are in Coronavirusland -- right back where we started in March.

In March.

Apart from "We live in f***ed-up times in a f***ed-up country," I really don't know what to say. Rather, I don't know what to say that's any different from what other rational believers in science are saying right now.

We here at 3 Chords & the Truth got nothin' . . . except the music. And the music is exceptionally good.

One hopes it's so good that it'll make you feel a little bit better for a while. I would say "make you forget," but that's a bit of a stretch -- even for the Big Show.

But that's just the same old song, isn't it?

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Whatever works

How are you getting by this week in this time of disease and woe?

Me, I've found that the best method for coping is . . . whatever works.

A big part of "whatever works," we at the Big Show hope, is the Big Show itself. A weekly dose of good music helps a lot when you're afraid to turn on the news for fear of what fresh hell awaits.

But while you're listening to the program -- listening to the finest in recorded music from the vast 3 Chords & the Truth library -- might I suggest sitting in a comfy chair with a refreshing libation. It might just be the shot in the liver you need.

PERHAPS A Skyball would do the tri . . . tri . . . hic . . . trick.

This classic 1960s bit of alcoholic nostalgia is sort of like a spruced-up highball, only made with vodka, lemon juice and lemonade. And I'm sure it's healthier than sitting on the stoop with a Lieutenant Dan cigar and muttering the F-word a lot.

Like I said, whatever works.

Of course, if you happen to be under 21 -- or if you just don't like booze -- I'm sure a nice refreshing glass of no-octane lemonade would work just fine, too.

Listen to me, I was pre-med in college. Wait, I was a journalism major.

Hell, what's the difference?

Good music and good libations -- that will help you get through this time of pandemic and pan-idiots. And helping you get through it all is our special mission on 3 Chords & the Truth.

S'alright? S'alright.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Doing what we can

First, the pandemic. Then, the reckoning.

Hell of a spring you're having, America.

Amid a double-barreled storm -- a double-barreled world of hurt -- what then are we to do? The answer is both complicated and really simple. Being a simple sort, I'll stick to the latter with this episode of 3 Chords & the Truth.

Now, the envelope, please. And the answer is . . . what we can.

We do what we can. That's certainly what we're doing here on the Big Show -- what we can. It involves (one hopes) not being dumb, not saying dumb things (at least not extraordinarily dumb, which seems the fashion for American society today) and playing the best music available here in the Apocalypse Bunker.

MANY MIGHT know that better as "the studio."

That pretty much sums up this week's show -- playing good music to soothe your soul and not saying or doing anything extraordinarily dumb. Don't worry, we'll still have plenty of the ordinarily dumb.

Just ask my wife.

I suppose that's all there is to be said -- he says as the smartphone and iPad keep dinging and lighting up with the latest Fresh Hell Alerts. (Would it be appropriate to change the alert tone to something more appropriate to these times . . . like an air-raid siren?)

Ponder that after you rebalance yourself by listening to the show.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: No. 1 in the heart of . . . something

When life has become a slog and the world around you is in turmoil, sometimes you just need to self-medicate . . . with music.

This may or may not preclude self-medicating with other things. It's that kind of year.

This week on the Big Show, we're self-medicating with a lot of hit records -- and records that, in your Mighty Favog's humble opinion, should have been hit records. Or bigger hit records.

It beats crawling into a dark corner with a bottle. Which, again, may or may not preclude also crawling into a dark corner with a bottle. Because 2020.

But for right now, you can try coping by listening to the hits and shoulda-been-hits on this here edition of 3 Chords & the Truth.

I guess that covers it. So give it a listen and escape the suck for a while.

That is all.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Please do not adjust your set

Please do not adjust your set. 2020 is experiencing technical difficulties. Please stand by.

(Cue the peppy, yet soothing instrumental music to accompany the "technical difficulties" slide on your screen.)

Please stand by -- perhaps that ought to be the new motto of the United States as the country staggers between a pandemic, economic collapse, civil unrest and a president who manages to be deeply evil and barking mad, too.

God knows "E Pluribus Unum" just isn't cutting it anymore.

If you have any answers beyond "Just hold on, and do the best you can," the Big Show would like to hear them. Address your reply to 3 Chords & the Truth, Apocalypse Bunker, Omaha, by God, Nebraska, Oh-What-the-Hell-Is-the-Point-Anymore?

AT A TIME when the president sets federal agents and troops upon peaceful protesters just so he can walk unbothered by the hoi polloi to a boarded-up church to stage a phony photo op with a Bible he doesn't read, just holding on and doing the best we can seems to be about all we can do right now.

Just hold on. We'll do the best we can to play some good music to distract you from your aching fingers.

That's about all I can tell you right now. God help us.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: The Blues Cafe

Damn right, I've got the blues.

Damn right, I bet you do, too.

It's a blue world here in Coronavirusland, so there's only one thing for us to do on 3 Chords & the Truth. It's time to play the blues.

Fortunately, if your playlist is as broad as American music, there's lots to pick from. It's hard to escape the blues in something that expansive.

Rock? Blues.

Jazz? Blues.

The American songbook? Look beneath the surface of so much of it. Blues.

Damn right, we got the blues -- right here on the Big Show. Which is perfect for when a whole country done got the blues.

Trust us; the blues will cure your blues. At least a little.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Virally stylish

New for '20! Style goes viral!

And, perhaps, shaving and lipstick become superfluous?

No matter what, 3 Chords & the Truth is your dedicated follower of fashion . . . and breakout music on the hot spot of your Internet dial. And while you'd be smart -- and considerate -- to mask your face to stop the spread of the coronavirus, there's no masking the reality that good music makes hard times just a little bit better.

And the forecast for the next 90 minutes of the Big Show is a marked improvement in conditions wherever you are.

Now grab a drink, crank up the high-fidelity apparatus, and settle in for the musical journey. It'll be an adventure -- we guarantee it.

It's 3 Chords & the Truth, y'all.  Be there. Aloha.

3 Chords & the Truth: A tuneful light

You remember the old Merle Haggard song, "If We Make It Through December"?

Somehow, it has become not insane to wonder if we'll make it to November. That ain't good.

That can send a body into a serious funk. That can seriously harsh one's mellow. That ain't good.

Seriously, what the hell are we to do? Shine a light into the virus-loaded darkness, I guess. I mean, that's what we're trying to do here on 3 Chords & the Truth -- shine a tuneful light into this darkest night.

So, in that . . . light . . . this is gonna be one hell of a show. A Big Show. The price of admission? Wash your hands.

And keep your distance from your neighbor.

And wear a mask when you're out in public -- which you ought to be as little as possible. There's a virus goin' on.

F*** the darkness. Let's shine some musical light.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Calming numbers

It's a fine mess we find ourselves in, this coronavirus thing, and the folks one usually looks to when extrication is called for . . . well. they're pretty much useless.

If not outright existentially threatening.

So. Well. Um . . . what are we supposed to do, then?

Well, there has to be a better answer than one I've taken to in recent months -- sitting on the front stoop with a drink and a Lieutenant Dan cigar, muttering the F-word a lot. Let's brainstorm this, shall we?

FIRST, keep calm and carry on intelligently. Do what your doctor would tell you to do. I'm reasonably sure that doesn't involve a Lieutenant Dan cigar. Hey . . . do as I say, etcetera and so on.

Second . . . chill.

3 Chords & the Truth can help you with that second thing, and we'll do it by the numbers -- 33⅓, 45 and 78. And at whatever speed a compact disc spins.

If music can soothe the savage breast . . . beast . . . both? . . . whatever, music can get us through this epidemiological cluster-you-know-what. Music can mellow us out and calm us the you-know-what down.

Lucky for you, the Big Show is just a click (two at the most) away.

So, let us all center ourselves for the long slog -- by the numbers.

33⅓. 45. 78.

And at whatever speed a compact disc spins.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Whadda you have to lose?

I give up. What the hell?

Got Lysol?

Truly, whadda we have to lose? I'm goin' for the cure!

It's 3 Chords & the Truth, y'all. Be there. Aloha.

3 Chords & the Truth: Déjà vu all over again

These are the times that try men's immune systems.

And their faith in mankind . . . political leaders . . . the "American way of life" (snort) . . . human intelligence, God and the universe.

Americans, most of us, are not in a good place right now. We're cooped up, the president's brain obviously is f***ed up, people are all head-up, and right-wing politicians and pundits look at the mounting coronavirus death toll, then agitate for the economy to "open up."

It's late 1918 and the Spanish flu all over again. That didn't end well.
 
ON TOP of it all, John Prine died on April 7. Of the coronavirus.

It's all enough to make you give up hope. That's exactly why you can't. And that's more or less what this week's edition of 3 Chords & the Truth is all about -- that, paying tribute to the great John Prine, a Woodstock jam and other good stuff.

To be frank (because I'm sick of people calling me Shirley), I'm kind of at a loss for what else to say about this go 'round of the Big Show.

So I won't. Just listen; you'll figure it out.

It's 3 Chords & the Truth, y'all. Be there. Aloha.

The records that made me (some of 'em): Labour of Lust

The rules of the album challenge on Facebook was that you pick (just) 10 that influenced you big-time, and this is No. 10 -- Nick Lowe's "Labour of Lust."

I loved Lowe's music the first time I heard it, probably a year before this came out in June 1979, right between me graduating high school and starting college at LSU. Before I'd figured out that he was one of the driving forces and producers behind the whole Brit New Wave scene that was saving American rock 'n' roll, one great college-radio single at a time.

And years before I figured out he and I share a birthday.
 
Nick Lowe is a hell of a songwriter, and he writes an even better hook. The man, in the late '70s, was the power in power pop. Four words: "Cruel to Be Kind."

By the way, did I mention Rockpile? And that Lowe produced the first five albums of Elvis Costello, who used to be a roadie for Brinsley Schwarz, the pub-rock band (1969-'74) from which all things New Wave and power pop flowed (including Nick Lowe).

HOW BIG an influence is Nick Lowe in my musical world? Let me elucidate: 10a, 10b, 10c and 10d on my list probably would be Costello's "My Aim Is True," "This Year's Model" and "Armed Forces," then Lowe's 1978 LP "Jesus of Cool," which in this country became "Pure Pop for Now People" because the suits remembered what happened to the Beatles in 1966.

That about cover it, Skipper?

Seriously, by 1978 or so, rock 'n' roll was a bloated, self-satisfied son of a bitch, and (once again) needed the Brits to come to the rescue, mind the bollocks, then pry ours out of a corporate vise. As much as anyone, Nick Lowe took on what was a dirty job amid a music scene that couldn't be unseen, and made the extraction quite painless, actually.

There's an "American Squirm" joke in there somewhere, but I'm just not seeing it right now.

The End.

The records that made me (some of 'em): Calcutta!

This influential LP came later in life -- as in, I-was-over-50 later in life. But influential is influential, a revelation is a revelation no matter how delayed, so here goes No. 9 on the list -- "Calcutta!" by Lawrence Welk.

As a Baby Boomer of a certain age, I absolutely was force-fed a diet of The Lawrence Welk Show every weekend. Saturday night on the network . . . Saturday or Sunday afternoon in syndication, you could count on Lawrence, Myron, Joe, Norma, Arthur, Bobby, Cissy, Gail and Dale to cheese up the living room TV set so much, all you really needed was a box of Ritz crackers for your evening to be complete.

Mama and Daddy loved The Lawrence Welk Show. And Mama and Daddy controlled the television when it counted -- the precise times for 1) Lawrence Welk on Saturday afternoons, 2) The Gospel Jubilee on Sunday mornings, and 3) whenever The Porter Wagoner Show was on -- maybe Saturday, maybe Sunday afternoon.

Unfortunately for my force-fed self, The Lawrence Welk Show was . . . was . . . was. . . .

A half century later, I am at a loss for words.

I, however, can show you:


NOW YOU KNOW why folks got one toke over the line.

In short, Lawrence Welk represented, for all of my youth, a big, lame joke. When it wasn't being the Abomination of Geritol Nation.

Well into married life, my wife -- subjected, in her youth, to the same Welk abuse as myself -- and I would watch reruns of the show on public TV for the sheer irony and hathos of it all. Sometimes, we still do.

Then at an estate sale one Sunday, one of the LP treasures of a passing generation presented itself to me. "Aw, what the hell," I told myself as I grabbed "Calcutta" for ironic listening enjoyment.

I cleaned the vintage 1961 vinyl, plopped it on the record player, and immediately a huge problem jumped right off the grooves and into my smug, superior little shit of a face.

The @#&%!$*!# album was good.

The Welk orchestra almost . . . Dare I say it? . . . No, I CAN'T! . . . Go on, say it, you little frickin' WIMP! . . . DON'T YELL AT ME!!!! . . . the Welk orchestra almost . . . uh . . . swung. It was really tight. And the "Calcutta" Welk was so much more fun than that Geritol- and Serutan-fueled weekly video constitutional might suggest.

YOU DON'T EXPECT, at least not in one's 50s, for it to be so earthshaking to discover one's parents -- well, at least kinda sorta -- were right. But on a matter involving such a deeply held principle? About something that strikes at the core of Boomer generational solidarity?

Consider my earth shaken, if not also stirred.

God help me, the title cut was fun. (I was already familiar with the "Calcutta" single, just not with the idea that it was "fun.") "Perfidia" was even better. Exquisite, even.

God help me, I had to give Lawrence Welk his due. I had been influenced.

And I wasn't even one "modern spiritual" over the line.

The records that made me (some of 'em): The compilations

Back when you were a broke-ass college student and you liked music (when albums were a thing and music piracy meant taping songs off the radio), you hit the bargain bins a lot and waited to be intrigued, surprised . . . or both.

Sometimes, you achieved "Holy shit!" You usually came to this point only after unwrapping the LP and putting it on the turntable. That point only could be reached after you got intrigued standing over the bargain bin.

Only after the record had spun, your speakers had thumped and "Holy shit!' had been reached could you then achieve "educated" and "impassioned."

These two bargain-bin compilation finds -- a combined No. 8 in my series of 10 influential albums -- checked all the boxes for me back in the day. The first was "The Soul Years," a 25th anniversary overview of Atlantic Records' soul and R&B history first released in 1973.

I was hooked with the first cut of the double album -- "Stick" McGhee and His Buddies' early Atlantic single from 1949, "Drinkin' Wine' Spo-Dee-O-Dee." This was not the kind of oldie you would have heard on Baton Rouge radio back then.

I think this is the kind of thing the young version of my parents would have liked -- before my old parents hated it.


ME, I WAS all in. That was even before I got to Joe Turner's original 1954 recording of "Shake, Rattle and Roll," which was not cleaned-up and white-i-cized like Bill Haley and His Comets' version, which wasn't even recorded until Turner's had hit No. 1 on the Billboard  R&B chart.

Unsurprisingly, this verse from "Big" Joe Turner's "Shake, Rattle and Roll" was changed when Bill Haley recorded the song:

Way you wear those dresses, the sun comes shinin' through
Way you wear those dresses, the sun comes shinin' through
I can't believe my eyes, all that mess belongs to you

And this verse ain't there at all in Haley's cover:

I get over the hill and way down underneath
I get over the hill and way down underneath
You make me roll my eyes, even make me grit my teeth

It is good to find a compilation LP that's just as educational as a "Big Joe" Turner record.

And don't even get me started on how superior The Chords' "Sh-Boom" is to the Crew-Cuts' cover version.

WE FIND that "WCBS FM101 History of Rock -- The 50's" is a much more conventional album -- that is, "mostly stuff played on white radio stations" -- but it makes my "influential" list because it intimately acquainted me with what now are two of my favorite songs of all time.

Those would be (drum roll, please) . . . the Five Satins' "In the Still of the Night" and the Skyliners' "Since I Don't Have You."

And it was the Five Satins who gave us the term "doo-wop" -- them or The Turbans' with their slightly earlier "When You Dance." 

On NCIS: New Orleans, Scott Bakula always tells his TV special agents to "go learn things." When you're talking about music, that's always so much damn fun.

The records that made me (some of 'em):The Man Who Built America

In 1979, Irish rock -- to American ears, at least -- amounted to Van Morrison, Thin Lizzy,  Rory Gallagher and . . . Horslips.

Outside the Emerald Isle in '79, U2 was still "U Who?"

And to be fair, in the United States, Horslips wasn't all that well known, either. But I knew who Horslips was, thanks to (I'm sure) WLSU on cable FM in Baton Rouge. College radio: It's important.

If you ask me, I'm not entirely sure you could have had the global phenomenon that was/is U2 without Irish predecessors like Thin Lizzy and Horslips, bands that were masters of the thematic LP masterpiece (in Thin Lizzy's case, think "Jailbreak") and in Horslips' case, think this album -- "The Man Who Built America," the story of Irish immigration to the United States and No. 7 in this series of 10 albums that were influential for yours truly.


HORSLIPS was one of those bands that could make you think, make you dance, make you play air guitar and make you cry bitter tears . . . all in the space of two sides of a long-play record. And the great thing is that Horslips is still around.

For me, this and "Aliens" are go-to albums, still.

U2 might have been leading the surge of Irish bands that flooded onto American radio dials starting in the early '80s, but don't forget the precursors who set the charges and blew the dam. One of those was Horslips.

I'm exceedingly glad about that.

The records that made me (some of 'em):Never Mind the Bollocks

OK, back to the coal mine -- with my ghetto blaster.

The weekend intruded upon my recounting of 10 influential albums in my life. We resume the recounting with No. 6 in the series . . . the Sex Pistols' 1977 bombshell, "Never Mind the Bollocks."

I got stories about the Sex Pistols. I'll draw upon a 2006 blog entry to tell you about that anew.

But that story starts in the summer of 1977, when my Aunt Ailsa, an English war bride, flew home to Southampton to visit family. By that time, befuddled American foreign correspondents were sending back dispatches about this British phenomenon called "punk rock" and its antihero leaders, the Sex Pistols.

The current single by Johnny Rotten, Sid Vicious, Paul Cook and Steve Jones was "God Save the Queen." It had been banned by the BBC. I was 16. Naturally, I had to have it.

And when Aunt Ailsa got back to Baton Rouge, I did. As far as I knew, I had the only Sex Pistols record in town. Maybe one of the few in the United States. You certainly didn't hear the Sex Pistols anywhere on local radio.

I preferred to think my aunt had to go in the back door of a Southhampton record shop and ask a cannabis-toking clerk "I say, do you have the stuff?" And then, in my teenage imagination, the clerk put down his bag of chips, slipped the 45 into a brown paper bag, and handed it to her. She then would have put a pound note into his resin- and grease-tainted hand, immediately lit a cigarette to mask the smell of second-hand marijuana smoke clinging to her clothes and slipped back out the back door.


MORE LIKE IT, she went in the front door of HMV, grabbed "God Save the Queen" off the rack and paid the teenage clerk at the front counter.

I like my 16-year-old imagination's version better.

Anyway . . . the fine folks in Red Stick thought the Beatles were dangerous and the Rolling Stones were spawns of Satan. Little did they know.

For example:

God save the queen
The fascist regime
They made you a moron
A potential H-bomb

God save the queen
She's not a human being
and There's no future
And England's dreaming

Don't be told what you want
Don't be told what you need
There's no future
No future
No future for you

God save the queen
We mean it man
We love our queen
God saves

God save the queen
'Cause tourists are money
And our figurehead
Is not what she seems

Oh God save history
God save your mad parade
Oh Lord God have mercy
All crimes are paid

Oh when there's no future
How can there be sin
We're the flowers
In the dustbin
We're the poison
In your human machine
We're the future. . . .

MAN, I WAS a blue-collar kid in the Deep South. I was, for the first time in my life, at a school where ideas mattered and, like, thinking was encouraged and not reason to label you a weirdo or a "n****r-lover" -- or maybe "queer."

I mean, in the redneck corners of Louisiana, one did not lightly refer to thespians while among people who thought a thespian was other than what he or she actually was.

No, being at Baton Rouge Magnet High School blew a blue-collar kid's mind wide open in a Technicolor frenzy of Dreaming Big. Such was life at the Maggot School.

"The Maggot School" is what White Trash Nation called Baton Rouge High throughout my tenure there -- 1976-79. It was the place where all the geeks, brainiacs, musicians and thespians could be weirdos together in relative harmony and contentment. Hey, at BRHS, it was good to be a thespian.

If Student X had admitted to being a thespian at Broadmoor Junior High, I garon-damn-tee you someone would have beat him (or her) up and administered an enthusiastic version of the Toilet Water Taste Test. And the boys would have been even more vicious.
 
You just as well had put on an ascot and admitted to being a Homo sapiens. Or, better yet, called Junior Martinez (pronounced MART'un-ez) a Homo sapiens.

Anyway, Baton Rouge High, by the 1975-76 school year, was a struggling inner-city school whose halcyon days had gone the way of poodle skirts, B-52s (the hairdo, not the band) and "separate but equal." Then someone had an idea -- a magnet school for academics and the performing arts.

My parents were leery of this thing (I'll bet you can guess why), but I got to go. Miracle of miracles!

Well, Baton Rouge High had -- and still has -- a radio station. A real, honest-to-God, student-operated, over-the-air FM radio station -- WBRH. And thus, in high school, your Mighty Favog learned everything he needed to know.

The college education was for my liver.
 

ANYWAY . . . let me tell you about when WBRH introduced Baton Rouge to punk rock in 1977.

I found out about the Sex Pistols on Weekend, the NBC newsmagazine that preempted Saturday Night Live once a month back in the day. In this case, "back in the day" was, I reckon, spring 1977. Anyway, it seemed that the Pistols were about as pissed at the world as my teenage self, they could rock and -- best of all -- they terrified polite society as much as anything I had seen in my young life.

The fall of '77, I was enrolled in Radio I. I wasn't allowed an air shift yet; back then you first had to get a federal license -- by passing an exam. But I knew bunches of people in Radio II who had their third tickets (radio operator's licenses). Soon, the Sex Pistols were on the Baton Rouge airwaves, via the 20-watt blowtorch signal at 90.1 FM.

One fall afternoon, I was sitting in with Charles, a junior, during the afternoon rock show. He was skeptical of the Sex Pistols, but played it and asked for listener feedback. What feedback you get from a high-school FM blowtorch (that is, not a bunch) was decidedly mixed.

AFTER A WEEK or so of playing Baton Rouge's one copy of a Sex Pistols record, we did get some strong feedback. It was from the licensee of WBRH, the East Baton Rouge Parish School Board. And it went something like this: We don't know what the hell that is you've been playing on the radio station, but we want you to cut it out. NOW!

The radio instructor and general manager, John Dobbs, liked his teaching gig. The 45 was confiscated, and the Sex Pistols faced the same fate at WBRH that the lads did at the BBC. Banned.

I did retrieve my record from The Iron Fist of the Oppressor, but only after I agreed never to bring it back. It sits, carefully preserved in its famous picture sleeve, in a plastic file box, along with all my other 45s from Back in the Day.

Now, Charles was -- is? -- an interesting guy. Think of Alex P. Keaton from Family Ties a good five years before there was a Family Ties. Only African-American.

It probably was in the spring of '78 that I was again hanging out with Charles in the radio control room, playing the likes of David Gilmour, The Fabulous Poodles, Toto, the Cars, Journey and Queen. Maybe some Commodores -- Brick House, baby! -- and Parliament/Funkadelic.

Well, that day, obviously not enough "Brick House" or "P-Funk."

(Flash. Flash. Flash. Hey, radio-studio phones flash; they don't ring. OK?)

Charles: WBRH!

Caller: Hey, man, why don't you play some n****r music, man! ("N****r" = Not Polite, Racist and Offensive Term for African-American -- then, now or ever.)

Charles: Uhhhhh, excuse me, but I happen to be black.

Caller: Oh, uhhh, oh . . . oh, I'm sorry, man! How about playin' some BLACK music for me, man!

Charles: I'll see what I can do. (Slams phone down.) Redneck son of a bitch!

I DON'T THINK the guy got his "n****r music" played, man.

Now, I think there was a point to this post when I started it. I'll see whether I can get back to it.

When the Sex Pistols' first LP, "Never Mind the Bollocks" -- you know, the point of this whole missive -- came out in November 1977, I made it to the Musicland at Cortana Mall in the manner of someone whose head was on fire and his ass was catchin'.

Is what I'm sayin'.

And it did not disappoint when I got it on the stereo. I was dangerous, too -- in both 45 and 33⅓.

I'd like to think I still am at age 59. My wife of almost 37 years might disagree.