Music Night. Happy Birthday, José

If you listened to American radio at all in the late 60s and early 70s, you could not escape the distinctive guitar and vocals of José Feliciano. I may have gotten sick to death of Feliz Navidad, but I hate Christmas music anyway. And there’s no way to escape the fact that Feliciano was and is a very talented musician. The first video, incidentally, has a few treats. It’s a big old Latin sandwich!

The second video is very much worth listening to, and is an interesting story. The performance referred to was from a Detroit Tigers game in 1968.

More José below the fold, and it’s Music Night, so jump in.


62 thoughts on “Music Night. Happy Birthday, José

  1. One of the things I like most about this video is how it exemplifies the theme of the song: A guitar, a harmonic, and a casette recorder in a motel room.

    Closer to the Bone

  2. Ahhhh, Spanish music. Or Latino. Or whatever you want to call it. Always will be my favorite.

  3. In 1970, I was living in Boston. One evening, I went to the Boston Tea Party to listen to Santana live. The cost of admission was $1.00. I was sitting on the floor at the foot of the stage. What a show!
    Ah, look how young we were 🙂

  4. As my hearing has diminished, so has my appreciation of noise. Loud music, brash music has lost its luster for me. My job has put me in noisy environments for too many years.

  5. Cats, I saw Santana for the first time the same year. Someone had organized a festival in Stockton and neglected to publicize it, so there were only a few hundred of us sitting on the grass in the college stadium. We were entertained by Tower of Power, Cold Blood, the Sons of Champlin and then a whole bunch of percussion and horns and this bushy-haired fucker killing on the guitar. Two bars into the first song and no one was left sitting.

    My friends and I had driven up from Modesto with our brand-new underground newspaper and I gave a free copy to Carlos himself. He probably still has it.

  6. Sorry to ‘hear’ that hooda – loud music flooding my ears and thus my grey matter leaves very little room for the ‘realities’ of life. At least it’s a respite from the constant barrage of ‘what needs to be done’; ‘is this possible’; ‘what’s the frequency Kenneth’…

  7. Cats, I can’t stand concerts these days, but in the 60s and 70s and early 80s I didn’t miss much, and was lucky enough to have access to lots of concerts. Acid rock and blues in the 60s, funk in the 70s and New Wave/punk in the 80s. There have only been a few acts I really wanted to see and missed: Neil Young with Crazy Horse, the Jayhawks, Tim Buckley… hmm, I know there were more but my old brain is fuzzy.

  8. Jane and I are watching the Mets game, and Keith Hernandez just tried to say that the Phillies manager tinkered with the line-up. Only he misspoke and said “tinkled with the line-up…”. All three of them in the booth said nothing out loud for about thirty seconds, and it was obvious when they were able to speak again that they have been laughing.

  9. I have always been musically inclined. Even have a decent singing voice. I suspect that is why I lean towards music that speaks its piece clearly. I’ve always leaned towards the ballads where a story is told.

  10. The entire album is an impressive piece of work, on many levels a Joseph Campbell Hero’s Journey with each song a mirror & “flip side” of the song opposite it in the album

    • I’ve been thinking about it, and I think it’s true that all songs have a story. You just have to be willing to find it.

      I’m crashing, so goodnight all.

  11. Green Day’s American Idiot is one of the few truly complete works to have been produced on the pop scene in a very long time; it compares favorably to Pink Floyd’s The Wall. A bitterly anti-war exploration that follows the disappointment of its own idealism into personal hell and redemption, the entire album is a single, coherent narrative.

    The song below, “Homecoming,” is the next to last song on the album, opposite “Jesus of Suburbia,” whose last line is “I’m leaving home.” This is the departure on the hero’s journey, that leads from idealism, to dismay, to abandonment and addiction, to rock bottom and the return journey. “Wake Me Up” is the epiphany prior to the return home. (In the Hero’s journey, the Hero passes through numerous triall until the discovery of the secrete — often within himself — that is the key to helping his people.)

    “St. Jimmy” in the song is the drug dealer; the “Jesus” references are all to the origination of the Hero’s journey in the mirror image song; the “she” that is mentioned is the unnamed woman who joins the Hero on his codependent trip downward, and whose departure is the step that finally leads to his epiphany.

    This song is, as the title says, the Homecoming. The multi-thematic structure directly parallels that of “Jesus of Suburbia.” One of the best parts is toward the middle end when they can no longer bear their own pretentiousness and they break into this frenetic riff (“geez”) making fun of themselves.

    The militaristic march in the drum is itself an homage to the anti-war sentiments in the earlier songs when (innocent) idealism still held sway. Now it signals the Hero’s return with a knowledge that his earlier idealism lacked (with a final ironic snark).

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