Zevon Song of the Week #23
haro...@yahoo.ca
Category: History
Rating: 4.5 stars
Excitable Boy was the first Zevon album I ever heard. It was 1978, and
my fellow minicomputer programmer Leo invited me to his apartment in
Montreal at lunch time one day to see and hear his high-end stereo
system. His only front-end source was a turntable (the CD was still a
few years away from hitting the market, as was the VCR). Leo had one of
those fancy rigs, where a lot of attention is paid by the manufacturer
to platter suspension and cartridge alignment and all those other
tweaks we can comfortably ignore with today's digital media.
We played tracks from several records that day, many of them British
(Clapton, Stones, Moody Blues). But the album I remember best is the
one whose cover had a fire-engine red background and the picture of a
young guy with glasses who sure didn't look like a rock star, at
least to me. The first track Leo played for me was the tune everyone
was talking about, Werewolves Of London. He may have played a few more,
I don't remember.
Later that week, I bought a copy for myself, and scoured the record
stores for more Zevon. It wasn't long until I snagged a copy of the
1976 eponymous album (which I still have on vinyl) and those two albums
got hundreds of plays over the subsequent years. I have to admit that
WZ quickly became my favourite, staggering me with the quality of every
song, but EB wasn't far behind.
The funny thing is that my favourite songs on EB weren't the big
four-Roland, EB, WWOL, and LG&M (although I liked them just
fine)-but rather the so-called secondary songs, the ones that never
really broke through in the same way. Of that group, the one that made
the biggest impression on me was Veracruz, not only because of the
gorgeous melodies but also because it was such an unusual song. It was
then and it still is now.
Co-written by Jorge Calderon, the song is set during the Mexican
Revolution and the six-month occupation in 1914 by the U.S. Navy of the
port city of Veracruz. The narrator of the lyrics is presumably a
Veracruz resident. The moving bridge verse, written and sung in Spanish
("Aquel dia yo jure ..."), has the narrator saying he will return
to Veracruz, that destiny has changed his life, but in Veracruz he
shall die.
The musicians by Warren's side (he handles the piano part) include
regulars Waddy on guitar, Kenny Edwards on bass, and Rick Marotta on
drums. In addition, we have the one-off presence of Arthur Gerst on
Mexican harp, Luis Damian on jarana (a small guitar-shaped fretted
stringed instrument that originates from the Veracruz region), and
Manuel Vasquez on requinto jarocho (another Veracruz-area variety of
Spanish guitar). The recorder that so evocatively begins the song is
played by Jim Horn, who makes an additional contribution to the album
by playing saxophone on the title track.
As we know, Jorge was one of Warren's oldest friends, and his
contributions extend well beyond mere musical collaborations. But his
work on this song is special. Not only did he write the Spanish verse
referred to earlier, but he also sings harmony with Warren on that
verse, in such a seamless fashion that the two voices become one. A
Spanish-American summit, if you will. It took until The Wind and El
Amor De Mi Vida in 2003 for the two men to repeat this wonderful
melding of English and Spanish. Both compositions, if you're in the
mood, can and will bring a tear to your eye. The beauty of the melodies
is uncompromising.
As with many of Warren's best songs, such as The Envoy and Run
Straight Down, the subject matter of Veracruz is relevant today.
Substitute Iraq for Mexico, and consider the significance of the phrase
"When the American troops withdraw", and you'll know what I mean.
Oh yeah, for anyone who questions Warren's vocal ability-they
probably haven't listened to this song.
Veracruz. Three-and-a-half minutes, 4-1/2 stars. Great song.
Categories to date
-------------------------
Addiction and Recovery: 2
Cover: 2
Family: 1
Geopolitical: 1
History: 1
Law and Order: 1
Love-Gone-Wrong: 5
Mortality: 2
Satire: 2
Social Commentary: 5
Sports: 1
Avg. rating to date
-------------------------
4.39
jsj...@iserv.net
My favorites are still the most famous ones I suppose but Veracruz is
certainly among his most "gorgeous melodies." I'd put Mohammed's Radio
and Suzie Lightning in that class as well.
> Co-written by Jorge Calderon, the song is set during the Mexican
> Revolution and the six-month occupation in 1914 by the U.S. Navy of the
> port city of Veracruz. The narrator of the lyrics is presumably a
> Veracruz resident. The moving bridge verse, written and sung in Spanish
> ("Aquel dia yo jure ..."), has the narrator saying he will return
> to Veracruz, that destiny has changed his life, but in Veracruz he
> shall die.
>
WZ's ability to mix the personal and the political is certainly one of
the qualities that makes his music so relevant and enjoyable. And this
one is another addition to his upcoming compilation; The Geography
songs of Warren Zevon.
> The musicians by Warren's side (he handles the piano part) include
> regulars Waddy on guitar, Kenny Edwards on bass, and Rick Marotta on
> drums. In addition, we have the one-off presence of Arthur Gerst on
> Mexican harp, Luis Damian on jarana (a small guitar-shaped fretted
> stringed instrument that originates from the Veracruz region), and
> Manuel Vasquez on requinto jarocho (another Veracruz-area variety of
> Spanish guitar). The recorder that so evocatively begins the song is
> played by Jim Horn, who makes an additional contribution to the album
> by playing saxophone on the title track.
>
Hey good research on the jarana and requinto jarocho; I didn't know any
of this stuff, and damnit it's important.
> As we know, Jorge was one of Warren's oldest friends, and his
> contributions extend well beyond mere musical collaborations. But his
> work on this song is special. Not only did he write the Spanish verse
> referred to earlier, but he also sings harmony with Warren on that
> verse, in such a seamless fashion that the two voices become one. A
> Spanish-American summit, if you will. It took until The Wind and El
> Amor De Mi Vida in 2003 for the two men to repeat this wonderful
> melding of English and Spanish. Both compositions, if you're in the
> mood, can and will bring a tear to your eye. The beauty of the melodies
> is uncompromising.
>
The only thing El Amor brings to me is a shudder when he sings that
line "I'm happy for your happiness." I think he stole that from Frank
Burns from MASH - It's nice to be nice to the nice...
> As with many of Warren's best songs, such as The Envoy and Run
> Straight Down, the subject matter of Veracruz is relevant today.
> Substitute Iraq for Mexico, and consider the significance of the phrase
> "When the American troops withdraw", and you'll know what I mean.
>
I agree with the sentiment but The Envoy and Run Straight Down among
his Best Songs - surely you are kidding.
> Oh yeah, for anyone who questions Warren's vocal ability-they
> probably haven't listened to this song.
>
I agree that he is a fantastic vocalist. I don't care what I said 20
years ago.
> Veracruz. Three-and-a-half minutes, 4-1/2 stars. Great song.
>
Oh come on, enough with the star ratings. I don't want you sinking to
the level of Rolling Stone Mag; we are a sophisticated enough audience
to read the review and evaluate your thoughts on the song. No Cliff
Notes are needed, and yet I would like an epilogue letting me know
whatever became of Leo.
Jim
Howard Roseman
> the qualities that makes his music so relevant and enjoyable. And this
> one is another addition to his upcoming compilation; The Geography
> songs of Warren Zevon.
>
I'm sure Artemis would do it if they thought they could make a buck.
> The only thing El Amor brings to me is a shudder when he sings that
> line "I'm happy for your happiness." I think he stole that from Frank
> Burns from MASH - It's nice to be nice to the nice...
>
I recall your pointing out your disfavour with that phrase some time back.
Let's blame it on Jorge!
> Hey good research on the jarana and requinto jarocho; I didn't know any
> of this stuff, and damnit it's important.
>
I wonder if it was just Lindley playing all of them under pseudonyms.
> I agree with the sentiment but The Envoy and Run Straight Down among
> his Best Songs - surely you are kidding.
>
I mentioned those two because of their continued relevance. Although I like
them better than you do, I'd have to concur they're not at the top of the
list.
> Oh come on, enough with the star ratings. I don't want you sinking to
> the level of Rolling Stone Mag; we are a sophisticated enough audience
> to read the review and evaluate your thoughts on the song. No Cliff
> Notes are needed, and yet I would like an epilogue letting me know
> whatever became of Leo.
>
You're right, the star thing is a gimmick, designed to generate some
discussion. I probably will drop it since it is indeed kitschy.
Leo, the rebel who wore jeans to work and slammed management every chance he
got, stayed in Montreal with the company and is still there, as a V.P. I
emailed him in 2001, got no reply, and let it go.
jsj...@iserv.net
Howard Roseman wrote:
> > WZ's ability to mix the personal and the political is certainly one of
> > the qualities that makes his music so relevant and enjoyable. And this
> > one is another addition to his upcoming compilation; The Geography
> > songs of Warren Zevon.
> >
>
> I'm sure Artemis would do it if they thought they could make a buck.
>
>
> > The only thing El Amor brings to me is a shudder when he sings that
> > line "I'm happy for your happiness." I think he stole that from Frank
> > Burns from MASH - It's nice to be nice to the nice...
> >
>
> I recall your pointing out your disfavour with that phrase some time back.
> Let's blame it on Jorge!
>
It works for me, prior to The Wind I never felt the Jorge co-writes
were nearly as good as those with either Waddy or Leroy P. Was there a
co-writer on Nighttime in the Switching Yard, perhaps?
>
> > Hey good research on the jarana and requinto jarocho; I didn't know any
> > of this stuff, and damnit it's important.
> >
>
> I wonder if it was just Lindley playing all of them under pseudonyms.
>
>
> > I agree with the sentiment but The Envoy and Run Straight Down among
> > his Best Songs - surely you are kidding.
> >
>
> I mentioned those two because of their continued relevance. Although I like
> them better than you do, I'd have to concur they're not at the top of the
> list.
>
>
> > Oh come on, enough with the star ratings. I don't want you sinking to
> > the level of Rolling Stone Mag; we are a sophisticated enough audience
> > to read the review and evaluate your thoughts on the song. No Cliff
> > Notes are needed, and yet I would like an epilogue letting me know
> > whatever became of Leo.
> >
>
> You're right, the star thing is a gimmick, designed to generate some
> discussion. I probably will drop it since it is indeed kitschy.
>
All right, someone is actually listening to me.
> Leo, the rebel who wore jeans to work and slammed management every chance he
> got, stayed in Montreal with the company and is still there, as a V.P. I
> emailed him in 2001, got no reply, and let it go.
Daniel Simpson Day, whereabouts unknown.
Jim
jsj...@iserv.net
Howard Roseman wrote:
> > WZ's ability to mix the personal and the political is certainly one of
> > the qualities that makes his music so relevant and enjoyable. And this
> > one is another addition to his upcoming compilation; The Geography
> > songs of Warren Zevon.
> >
>
> I'm sure Artemis would do it if they thought they could make a buck.
>
>
> > The only thing El Amor brings to me is a shudder when he sings that
> > line "I'm happy for your happiness." I think he stole that from Frank
> > Burns from MASH - It's nice to be nice to the nice...
> >
>
> I recall your pointing out your disfavour with that phrase some time back.
> Let's blame it on Jorge!
>
It works for me, prior to The Wind I never felt the Jorge co-writes
were nearly as good as those with either Waddy or Leroy P. Was there a
co-writer on Nighttime in the Switching Yard, perhaps?
>
> > Hey good research on the jarana and requinto jarocho; I didn't know any
> > of this stuff, and damnit it's important.
> >
>
> I wonder if it was just Lindley playing all of them under pseudonyms.
>
>
> > I agree with the sentiment but The Envoy and Run Straight Down among
> > his Best Songs - surely you are kidding.
> >
>
> I mentioned those two because of their continued relevance. Although I like
> them better than you do, I'd have to concur they're not at the top of the
> list.
>
>
> > Oh come on, enough with the star ratings. I don't want you sinking to
> > the level of Rolling Stone Mag; we are a sophisticated enough audience
> > to read the review and evaluate your thoughts on the song. No Cliff
> > Notes are needed, and yet I would like an epilogue letting me know
> > whatever became of Leo.
> >
>
> You're right, the star thing is a gimmick, designed to generate some
> discussion. I probably will drop it since it is indeed kitschy.
>
All right, someone is actually listening to me.
> Leo, the rebel who wore jeans to work and slammed management every chance he
> got, stayed in Montreal with the company and is still there, as a V.P. I
> emailed him in 2001, got no reply, and let it go.
Daniel Simpson Day, whereabouts unknown.
Jim
Howard Roseman
> were nearly as good as those with either Waddy or Leroy P. Was there a
> co-writer on Nighttime in the Switching Yard, perhaps?
>
There were three co-writers: Jorge, Waddy, and the late David Lindell,
better known as the co-writer of Roland.
I really don't mind NITSY. I quite enjoy the whines of train whistles.
> All right, someone is actually listening to me.
>
Since you're one of the few remaining posters here, Jim, I hang on your
every word!
> Daniel Simpson Day, whereabouts unknown.
>
> Jim
>
Just when I'm thinking what a high-class guy you are, you throw in an Animal
House reference.
I bet that, just like Belushi, you would smash the guitar of that folk-music
playing dude.
Jim R
"Howard Roseman" <hros...@shaw.ca> wrote in message
news:jXf%g.183892$5R2.178887@pd7urf3no...
> > It works for me, prior to The Wind I never felt the Jorge co-writes
> > were nearly as good as those with either Waddy or Leroy P. Was there a
> > co-writer on Nighttime in the Switching Yard, perhaps?
> >
>
> There were three co-writers: Jorge, Waddy, and the late David Lindell,
> better known as the co-writer of Roland.
>
Wow, that is a lot of writers for no more than there is to that song.
> I really don't mind NITSY. I quite enjoy the whines of train whistles.
>
>
> > All right, someone is actually listening to me.
> >
>
> Since you're one of the few remaining posters here, Jim, I hang on your
> every word!
>
I will take any compliment even a backhanded one.
>
> > Daniel Simpson Day, whereabouts unknown.
> >
> > Jim
> >
>
> Just when I'm thinking what a high-class guy you are, you throw in an
Animal
> House reference.
>
In my book there is little that is higher class than Animal House.
> I bet that, just like Belushi, you would smash the guitar of that
folk-music
> playing dude.
>
Actually I just played that tune for my daughter last night but I couldn't
quite remember the words. I gave my love a chicken that had no bone?...
Very strange indeed. I am surprised it is not on Stephen Bishop's Greatest
Hits.
Jim
Howard Roseman
> > There were three co-writers: Jorge, Waddy, and the late David Lindell,
> > better known as the co-writer of Roland.
> >
>
> Wow, that is a lot of writers for no more than there is to that song.
>
I suspect a lot of early Zevon songs were composed with Warren and one or
three friends hanging around the studio or the house, goofing around on
their instruments, and next thing you know the song is off and running.
Warren was a good friend, and more than happy to give a songwriting credit
to anyone who was in on it, regardless of the size of the contribution.