CD Review: Johnny Winter’s “Roots”

November 30, 2011

Johnny Winter

Roots  (Megaforce)

By Mike Finkelstein

This latest release from blues/rock legend Johnny Winter signifies one more move in the direction of his original roots in the blues.   The album’s format is one of Johnny and a very boppin’ and rock-steady backing band (Vito Liuzzi on drums, Scott Spray on bass, Paul Nelson on guitar, and Mike DiMeo on keys) dusting off and polishing up an assortment of classic up tempo blues numbers that he cut his teeth on as an up and comer.  A bevy of notable players and personalities guest throughout the project and the vibe is definitely sizzling.   This really comes as no surprise as Winter has always played a very busy but smooth style of guitar with fingerpicks on his right hand and flying fingers on his left hand.  Even when he plays his signature gyrating, wild slide guitar licks there is a fluidity that can mesmerize listeners.

Johnny Winter has been playing guitar professionally for fifty years or thereabouts and has shined as a player and interpreter the whole way through.  Drawn to the emotion of the blues, and beginning in the mid-60’s as a regional phenomenon from Texas, he followed a series of fortuitous breaks straight into the limelight.  He grew from blues into the blues/hard rock format in the early and mid-‘70’s, pushing the genre’s popularity with albums like “Second Winter,” “Johnny Winter And,” and “Still Alive and Well.”  These albums saw him interpret everything from blues standards to Bob Dylan, Allen Toussaint, Jagger/Richards, Lieber/Stoller and Traffic – and he did it beautifully.

He made an intriguing rock star, too.  With his long white hair and gaunt albino appearance, he looked striking in top hats and long coats, pulling snarling licks out of a Gibson Firebird.   His style has always been one of precision and endurance in the blues idiom — long guitar lines that crackle with his finger-picking approach.   Nobody ever played a more vigorous version of “Good Morning Little School Girl” than Winter.

In the late ‘70’s Winter headed back to the blues, even working closely with Muddy Waters.  And he has been on the blues circuit ever since.  He occasionally tours and has done sets at Eric Clapton’s Crossroads Concerts in 2007 and 2010.  To this day he has a singular appearance — still with long white hair and a set of mysterious looking tattoos.  Add to that the fact that he wears the blues juju like his skin.  At age sixty-seven and with some pretty hard living behind him, his health doesn’t allow him to spend too much time on the road, and he has to play seated when he gigs.  Still, he does continue to record and thus we have Roots in 2011.   It’s a sheer delight for anyone who loves a great blues jam.

The album opens with Sonny Landreth sitting in on a red hot “T-Bone Shuffle” and oddly enough he evokes a harmonica with his slide guitar.   The exchanges of power slide and subtler slide riffs between the two on this tune are remarkable and Winter’s voice sounds invigorated and soulful.   Next we move into Bobby Blue Bland’s enticing standard, “Further on Up The Road,” and Elmore James “Done Somebody Wrong.”   On the latter, Warren Haynes of, among others, the Allman Brothers Band, summons up a very authentic sounding array of Duane Allmanisms, paying homage to the legendary version of the song on Live at the Fillmore East.

On Little Walter’s “Last Night” John Popper shows up and establishes his very uniquely chromatic approach to blues harp, which Johnny counters nicely with slide and straight picking solos.   Popper’s style is clean and articulated and doesn’t get into the glorious grit that many blues harpists often head for.  It’s the contrast between harmonica and guitar that put this version over.

A romp through the covers that shaped young Johnny’s developing style wouldn’t be complete without a Chuck Berry offering.   The choice here is “Maybelline” and it gets a decidedly hot country picking treatment from none other than Vince Gill. This song is also notable for some very tasty additional rhythm guitar fills that go beyond CB’s arrangement.   Once again, Johnny’s vocal shines, sounding interesting, convincing and nothing like the original.

Jimmy Reed’s “Bright Lights, Big City” features Susan Tedeschi trading vocals with Johnny and the song shines in a more subdued light.   The Hammond organ provides most of the song’s color and the band plays clean under the vocals.  Her voice is remarkably well matched with Winter’s as he rolls off a bit of the intensity in his delivery.

From the beginning of Johnny’s musical journey, his brother Edgar hasn’t been too far away to collaborate.   He joins in on sax for a romp through the alluring Bill Doggett instrumental “Honky Tonk.”  Edgar’s sax vamping pumps up the rhythm section unexpectedly and his solos are smooth but rollicking in the ‘50’s style.   Hearing the two of them go at it here, one can only imagine how it may have sounded years ago in their Beaumont bedrooms.

A definite high point of Roots is the marvelous version of Robert Johnson’s “Dust My Broom” with Derek Trucks joining Johnny on slide.   It’s a contrast in slide sounds as Derek plays with a more subdued tone, much less trebly, and Johnny’s tone is much brighter — with his amp no doubt ready to hop off the chair.

Many singers would give their right tooth to match Johnny Winter’s performance on “Come Back Baby.” That he also rises to this level with his guitar solo is impressive if not surprising, considering that it’s Johnny Winter we are listening to.  In fact, the whole band just burns on this cut, complete with horns and a beautiful Hammond organ track from John Medeski.   It’s a fine tune to close the album with.

We can only hope that Johnny Winter will continue to record at this high level for as long as possible.  It’s inspiring and gratifying to hear him still in such fine musical form, both instrumentally and vocally.

To read more reviews by Mike Finkelstein click HERE.

Picks of the Week: Nov. 29 – Dec. 4

November 29, 2011

By Don Heckman

Los Angeles


– Nov. 30. (Wed.)  Sting. One of the iconic masters of popular song makes a rare Southland appearance as part of his extended, “Back To Bass” tour.   The  Wiltern.     (877) 686-5366.

– Nov. 30. (Wed.)   The Ron McCurdy Collective.  Trumpeter/educator McCurdy blends his soaring trumpet sounds with the lush harmonies of the four-voice Collective.  Catalina Bar *& Grill.  (323) 466-2210.

– Nov. 30 – Dec. 4. (Wed. – Sun.)  The Blue Man Group.  The blue-skinned, multi-media specialists blend comedy, music, technology into an evening of sheer audio-visual excitement.  Thousand Oaks Civic Arts Plaza.   (805) 449-2787.

– Dec. 1. (Thurs.)  Chris Walden Quintet.  Arranger/composer/conductor/trumpeter Walden, a true musical multi-hyphenate, takes a break from his large ensemble chores to lead a quintet of stellar L.A. players: featuring saxophonist Rob Lockhart, pianist Josh Nelson and bassist Pat Senatore. Vibrato Grill Jazz…etc.  (310) 474-9400.

– Dec. 1 – 4. (Thurs. – Sun.)  The Mike Stern Band.  Always an exciting, compelling player in his own right, guitarist Stern takes it up to an even higher level when he’s working – as he is here – in the company of players such as drummer Dave Weckl, bassist Richard Bona and saxophonist Bob Franceschini Catalina Bar & Grill.  (323) 466-2210.

Mike Melvoin

– Dec. 2. (Fri.).  A Celebration of 50 Years of the Music of Mike Melvoin. A much deserved tribute to pianist/composer/activist Melvoin – a vital figure in the jazz and music world and a supporter of aid for musicians and entertainers for decades.  Participants include pianist Mike Lang, singer David Basse, saxophonist Pete Christlieb, bassist Jim Hughart, drummer Ralph Penland and more. Culvers Club For Jazz.  6161 W. Centinela Ave.  Inside the Double Tree Hotel.  Presented by In-House Music.

– Dec. 2 (Fri.)  The Shanghai Quartet.  Together since the mid-‘80s, the highly praised Chinese string quartet performs the Mozart Quartet No. 17 (“The Hunt”) and Schubert’s Quartet No. 15 in the beautifully atmospheric setting of the Doheny Mansion.  A Da Camera Society “Chamber Music in Historic Sites” program.    (213) 477-2929.

– Dec. 2 (Fri.)  “Holiday Doo-Wop.”  An evening of sheer doo-wop nostalgia, featuring The Crystals, Johnny Tillotson, Kenny Vance & the Pianotones, and Cleve Duncan (from the Penguins).  Cerritos Center for the Performing Arts.   (562) 916-8501.

– Dec. 3. (Sat.) Holiday Wonders: Festival of Carols.  The Los Angeles Master Chorale.  Disney Hall.  It’s one of the great holiday musical blessings – a program of favorite Christmas carols, performed by one of the world’s finest vocal ensembles.  Disney Hall.    (323) 850-2000.

Jane Birkin

– Dec. 3. (Sat.)  “An Evening With Jane Birkin.”  The image of ‘60s mod style, singer/actress Jane Birkin had a long, passionate, professional and personal relationship with iconic French singer Serge Gainsbourg. Her performance recalls the drama of their connection and the impact it had upon the ‘60s and ‘70s.   Luckman Fine Arts Complex.   (323) 343-6600.

San Francisco

– Dec. 1 – 4.  (Thurs. – Sun.)  The Eddie Palmieri Salsa Orchestra.  The rhythms will be provocative, and there’ll be a great desire to get up and salsa.  But Latin jazz great Palmieri also adds an irresistible seasoning of jazz to almost everything he plays.  Yoshi’s San Francisco.


Benny Green

– Dec. 1 – 4 (Thurs. – Sun.)  Benny Green Trio. Pianist Green has been carrying the banner for straight ahead, bebop-driven jazz in his dynamic playing since he was an emerging jazz star in the ‘80s.  And he’s still at it.   Jazz Showcase.   (312) 360-0234.

New York

– Dec. 1. (Thurs.) Shane Endsley and the Music Band.  Versatile trumpeter Endsley was a founder of the Grammy nominated band, Kneebody.  But his colorful resume includes gigs reaching from Ani DiFranco and Pearl Jam to Steve Coleman and Slavic Soul Party.  For this gig, he leads a group that includes pianist Uri Caine, bassist Harish Raghavan and drummer Justin Brown. Cornelia St. Café.   (212) 989-9319.


– Dec. 1. (Thurs.)  Jackson Browne.  Veteran rock singer/songwriter Browne takes up the cause of Occupy Wall St. with a live performance in Zuccotti Park at 1 p.m.  Also on the program — the California band Dawes.  Zuccotti Park at Liberty Plaza between 6th Ave. & Broadway.  Backpacks, camping gear and large bags are reportedly not permitted. 

– Dec. 1 – 4. (Thurs. – Sun.)  “Tango Meets Jazz Festival.”  For the 11th year in a row, the Festival explores the surprisingly compatible common ground between tango and jazz.  This time out, the featured performers are nuevo tango master Pablo Ziegler with his quartet, jazz vibraphonist Joe Locke and jazz violinist Regina CarterThe Jazz Standard.    (212) 576-2232.

– Dec. 2 & 3.  (Fri. & Sat.)  Tudo Isto E Fado (“All This Is Fado”). Like American blues, Argentine tango and Brazilian samba, the fado is deeply rooted in the emotional expressiveness of its native culture.  Here, in two extraordinary nights of music, every aspect of fado – from  historical to contemporary – is on full display.  Performers include: On Fri.: Lisboa Soul and Camane.  On Sat.: Deolinda and Amalia Hoje.   The Gilman Opera House at the Brooklyn Academy of Music.    (718) 636-4100.

– Dec. 4. (Sun.)  Bobby Avey Quartet. Winner of the Thelonious Monk Competition for Composition in 2011, pianist Avey is a certified emerging jazz star.  His impressive group includes MacArthur “genius” award winner, Miguel Zenon on saxophone, bassist Thomson Kneeland and drummer Marcus Gilmore. Cornelia St. Café.    (212) 989-9319.


Jeff Lorber

– Dec. 2 (Fri.)  Jeff Lorber Fusion.  Keyboardist Lorber’s original fusion band virtually defined the crossover styles that led to contemporary groove jazz, smooth jazz and more.  But Lorber’s music – past and present – has also always simmered with swinging jazz authenticity.  Expect the same, from a group that includes saxophonist Eric Marienthal, bassist Jimmy Haslip and drummer Gary Novak A-Trane.    030 / 313 25 50.


– Dec. 1 – 4. (Thurs. – Sun.)  David Sanborn.  Not only does alto saxophonist Sanborn have one of the most unique sounds in jazz, he also has one of the most influential.  Transforming the blues styles of Hank Crawford and David “Fathead” Newman, he’s been among the most imitated saxophonists of the past four decades.  The Blue Note Tokyo.   03-5485-0088.

CD Review: EG Kight’s “Lip Service”

November 28, 2011

EG Kight

Lip Service  (Vizzitone)

By Brian Arsenault

When this album started my first reaction was, “If Bonnie Raitt was Southern, this is what she’d sound like.”  But that may just be my Yankee self talking, because what you really feel when you’re moving through Lip Service, E G Kight’s latest CD, is that you just walked into a small club sort of by chance and they had this kickass band playing with a great chick singer out front.

EG Kight

But you’d either have to be in Georgia or some place where an Allman Brothers kind of band was playing its way up North before they got famous.  Kight’s songs move from country to blues and back again with an ease that’s mostly only found in Southern artists. She still lives on long time family land in Georgia.

Maybe that’s the proof that traditional country — not that contemporary junk country which is the new pop light — and the blues are not that far apart. White and black Southerners have been living together for a long time and it hasn’t all been Bull Connor and fire hoses.  They listened to each other and what came out is among the best of American music.

I’ll start with the last track because in this case the best of the songs – almost all written by Kight — was saved for last. “I’m Happy With The One I Got Now” is maybe the most traditional blues song on the album. Kight’s oh so clear, clever, teasing voice is supported by great acoustic guitar work by Tommy Talton.  Talton is perhaps the most notable of an excellent collection of sidemen playing on Lip Service.

The title song, with its nearly naughty lyrics and road house rock sound, could be recorded by the Rolling Stones in their bluesiest mood.  In fact, drummer Bill Stewart reminds me more than once of Charlie Watts at his best.

The album kicks off with “Sugar Daddy” which brings a smile while talking about hard times. You know it’s hard times when the sugar daddies are giving pearls instead of diamonds.  Of course, some of the best blues are about good times during bad times.

There’s also a Koko Taylor tribute in “Koko’s Song, and “Savannah” is a song about various kinds of “Georgia heat.”  Phew, I thought only girls of color could pull off such sensuality in music — except for Janis.

Speaking of the great Joplin, in the opening bars of “That’s How A Woman Loves” I stopped breathing for a moment because I thought Janis lives again. But the vocal warps into a little Patsy Cline too.

Versatility is another Kight strength.  Paul Hornsby’s “It’s Gonna Rain All Night” is a jazz song, a torch song in the best meaning of the phrase.  Kight could do a whole album of songs like this and it would win Album of the Year in a couple categories at least.

And if the Stones could cover a couple of the songs on Lip Service, it made me sad that Otis Redding isn’t still around to cover “Somewhere Down Deep.”  And when I mention Otis, it’s the highest praise I could offer for this recording.

More than a little production credit goes to Paul Hornsby.  You know the standard phrases: “legendary producer” and the less effusive “veteran producer.”  Instead, let me put it this way. Hornsby has produced a lot of terrific music by a lot of fine artists for a long time.

As I wrap up, I feel like maybe I haven’t said enough about E G Kight’s singing, which is so clear and so capable of irony, humor, pathos and just deep, deep feeling. But you really can’t just write about such good stuff. You have to hear it

Photo courtesy of E G Kight.  Photo copyright by 

To read more reviews and posts by Brian Arsenault click HERE

Quotation of the Week: Pablo Picasso

November 25, 2011


“Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon. When we love a woman we don’t start measuring her limbs.”

– Pablo Picasso


To read more Quotations of the Week click HERE.

Here, There & Everywhere: The Music I’m Thankful For

November 23, 2011

By Don Heckman

Here’s my annual, continual and growing list of the many musical reasons I have to be thankful.

* * * * *

Charlie Parker

– Every note Charlie Parker ever played.

– Ditto for Louis Armstrong.

Bebop, Dizzy Gillespie, Bud Powell, Tadd Dameron, Ray Brown, Art Blakey, Dexter Gordon, Clifford Brown and more.

– The magical spells of Duke Ellington and Billy Strayhorn.

– Ditto for Don Redman, Sy Oliver, Benny Carter, Neal Hefti, Ralph Burns, Gil Evans, George Russell, Bill Holman, Thad Jones, Oliver Nelson and Maria Schneider.

– Count Basie‘s rhythm section (with Freddy Green, Jo Jones, Walter Page).

Billie Holiday

– Billie Holiday‘s “Strange Fruit.”

– Nina Simone‘s “I Loves You Porgy.”

– Ella Fitzgerald‘s Song Books.

– Joe Williams‘ “Here’s To Life.”

Frank Sinatra and Nelson Riddle.

– Coleman Hawkins playing “Body and Soul.”

– Ben Webster playing a ballad – any ballad.

– Sonny Rollins playing “St. Thomas.”

– Almost anything by Miles, Herbie, Wayne, Ron and Tony.

Charles Mingus

– Ditto for Charles Mingus, Cecil Taylor, Ornette Coleman,

– Ditto for Thelonious Monk.

– John Coltrane playing “A Love Supreme.”

– Ravi Coltrane playing — right now   Along with Charles Lloyd, Branford Marsalis, Christian Scott, Jason Moran, Brian Blade, and more.

Antonio Carlos Jobim, Joao  Gilberto, Elis ReginaGal Costa, Caetano Veloso, Ivan Lins, Gilberto Gil, Eliane Elias, Heitor Villa-Lobos and all the rest of the creators of the marvelous music of Brazil.

Michael Jackson

– The life, accomplishments  and music of Michael Jackson.

– The life and music of Eva Cassidy.

– The life the beliefs and the music of John Lennon.

– The life, music and ideas of George Russell.

– The lives, music and teaching of Ali Akbar Khan and Ravi Shankar.

– The music in the poetry of Rumi.

– The mugham of Azerbaijan.

– The lives and music of Blossom Dearie, Russ Garcia, Louie Bellson, Maurice Jarre, Les Paul, Mary Travers, Mercedes Sosa and many more no longer with us.

– The poetry of Bob Dylan and Leonard Cohen.  The songs of Joni Mitchell, James Taylor, Brian Wilson, Paul Simon,  Carole King, Elton John, Paul McCartney, Bacharach and David,  Sting and all the other singer-songwriters.

The Beatles

– The music of Elvis Presley, the Rolling Stones, the Beach Boys, the Beatles, Crosby, Stills, Nash & Young, Joan Baez, The Who, David Bowie, Nirvana, Kanye West (among others).

– Selmer saxophones and clarinets, Fazioli pianos, Pro Tools and Logic Pro.

– The composers and the lyricists whose music will live forever in the Great American Songbook.

Wolfgang Amadeus Mozart


– Everything and anything by Mozart, but especially the Clarinet Concerto and the Clarinet Quintet.

– The madrigals of Gesualdo.

Beethoven‘s Piano Sonata No. 32.

– The songs of Schubert.

Chopin‘s Etudes, Preludes and Waltzes.


– Beethoven‘s 3rd,  Schubert‘s 8th, Mendelssohn‘s 4th,  Brahms‘ 4th,  Tchaikovsky‘s 6th, Prokofiev‘s 1st.

Johann Sebastian Bach


– The Bach Sonatas and Partitas for Solo Violin, the Goldberg Variations, the Cello Suites the Brandenburg Concertos and almost everything else he ever wrote.

– Stravinsky‘s Sacre du Printemps.  His Three Pieces for Solo Clarinet.

– The String Quartets of Debussy and Ravel.

Rachmaninoff‘s Piano Concerto No. 3.

– The Bartok Concerto for Orchestra. His String Quartets No. 3 and 4.

West Side Story


– The Magic Flute, The Barber of Seville, Falstaff, Madam Butterfly, Die Fledermaus, Three Penny Opera, Porgy and Bess, Hair, Pal Joey, West Side Story and many more.

Picks of the Week: Nov. 22 – 27

November 22, 2011

By Don Heckman

Los Angeles

– Nov. 22. (Tues.) Preservation Hall Jazz Band and the Trey McIntyre Project. New Orleans roots, at their most convincing authenticity are delivered by the Preservation Hall players in a fascinating collaboration with the entrancing choreography of the McIntyre Project’s modern dance.  Disney Hall. 638 (323) 850-2000.

Preservation Hall Jazz Band and the Trey McInTyre Project

– Nov. 22. (Tues.) Barbara Morrison Benefit.  The life and work of the Southland’s musically delightful gift to vocal jazz will be celebrated by a long, impressive line up of Morrison’s finest jazz singing associates. All proceeds go to aiding Morrison with her medical bills. Vibrato Grill Jazz…etc.   (310) 474-9400.

– Nov. 23. (Tues.)  Evan Stone Translucent Ham Sandwich.  Drummer Stone’s whimsically named ensemble mixes music, media and imagination in an out of the box fashion recalling the “happenings” of ‘60s avant garde.  Steamer’s.  (714) 871-8800.   (714) 871-8800.

– Nov.23 – Jan. 8. (Wed. – ) The Muppets.  Music is always among the many memorable aspects about every Muppet performance.  And never more so than in their latest film, their first theatrical release in 12 years.  Expect to hear some new tunes, some Muppet classics and covers of material by the likes of Nirvana and Cee-lo Green.  For this holiday run, the performance will feature Kermit and Miss Piggy live onstage before each screening. The El Capitan Theatre.    (818) 845-3110

– Nov. 25. (Fri.)  Chris Isaak.  Rock singer/guitarist and sometimes actor Isaak has used his 1989 hit song “Wicked Game” to shape a busy career employing all his many musical and dramatic talents. Thousand Oaks Civic Arts Plaza.   (805) 449-2787.

– Nov. 25 & 26.  (Fri. & Sat.)  Karen Akers. Broadway and cabaret artist star Akers starred in the hit musicals, Nine and Grand Hotel. She’s even better in cabaret performances that showcase her warm voice and rich interpretations in an intimate setting.  Catalina Bar & Grill.  (323) 466-2210.


Roberta Gambarini

– Nov. 23 – 27.  (Wed. – Sun.)  Roberta Gambarini. Italian-born Gambarini sings jazz – in every shape and form, from ballads and bossa nova to hard driving scat – with an authenticity reaching well beyond the work of most of her current female practitioners of the jazz vocal art.  Jazz Showcase. (312) 360-0234.

New York

– Nov. 22 — 27. (Tues. – Sun.)  Chick Corea wraps his  epic, month long musical tour through his remarkable career.  Tues.: a duo with Marcus Roberts.  Wed.: a duo with Herbie Hancock.  Fri. through Sun.: The original Elektric BandThe Blue Note.    (212) 475-8592.

Gerald Clayton

– Nov. 22 – 27. (Tues. – Sun.)  The Gerald Clayton Trio. He comes from an illustrious musical family, with his father, bassist John Clayton and uncle, alto saxophonist Jeff Clayton urging him on. But the gifted young pianist is rapidly becoming an important jazz figure in his own right. The Village Vanguard.    (212) 929-4589.

– Nov. 22 – 27. (Tues. – Sun.)  Bucky Pizzarelli/Ken Peplowski. Swing will be in the air this week via the dynamic encounter between veteran seven-string guitarist Pizzarelli and the fluid clarinet work of Peplowski.   Dizzy’s Club Coca Cola.     (212) 258-9800.

– Nov. 22 & 23 and Nov. 25 – 27.  (Tues. & Wed and Fri. through Sun.)  The Maria Schneider Big Band.  Schneider’s voice, as a big band composer and arranger –originally influenced by her mentor, Gil Evans — has emerged as one of the jazz world’s most original blend of sounds and textures.  The Jazz Standard.    (212) 576-2232.


– Nov. 25 & 26. (Fri. l& Sat.)  Ian Shaw. He’s not as well known to American jazz audiences as he should be, but Shaw – like the similarly underrated Claire Martin, with whom he occasionally performs – is a jazz singer with something to say. Ronnie Scott’s.    020 7439 0747


– Nov. 24 – 26. (Thurs. – Sat.)  Alfredo Rodriguez.  Discovered by the unerring ear of Quincy Jones, Cuban born pianist Rodriguez does a powerful job of blending classical technique, Cuban rhythms and a free-flying jazz imagination.  The Blue Note Tokyo.    03.5485.0088.

Here, There & Everywhere: Buffalo Springfield’s “For What It’s Worth” — 44 years later and still timely

November 20, 2011

By Don Heckman

Looking at the videos of police using pepper spray on U.C. Davis demonstrators, and using violent tactics on protestors elsewhere, has triggered a whole bunch of distant memories.   As has much of the media coverage of the Occupy movement as it has grown in size and intensity around the country.  The goals of the anti-war movement of the ’60s and today’s anti-corporation campaign may be different in detail,  but the quest to change the direction of a society heading in the wrong way for the wrong reasons is the same.  What was happening in the late ’60s is a natural parent of what is happening today.

All of which immediately brings to mind the song that was one of the definitive musical messages of the late ’60s — Buffalo Springfield’s “For What It’s Worth.”  Written by Stephen Stills as a response to the Sunset Strip riot of 1966, it later became associated with the Kent State shootings of 1970.  But the message was, and is, timeless.  Which is why I’ve posted it here.  And I can easily imagine the last two lines of the chorus becoming the call of the crowd every time authorities resort to violent intimidation against peaceful demonstrators:

“Hey, what’s that sound, everybody look what’s going down!”

* * *


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