MOON'S SONGS (Continued)
173. "OVER THE WAVES" - this instrumental was recorded by Moon for King records in 1947.The style is semi-classical and this piece was a big standard among Western swing,Cajun and country artists.
174. "PIANO BREAKDOWN" - In the 1950s,Moon recorded a full session containing 4 instrumentals.This self-written piece mixes elements of blues and ragtime and the title borrows a little from bluegrass instrumental titles ("Bluegrass breakdown","Pyke county breakdown",etc.).
175. "COUNTRY BOOGIE" - The title of this instrumental (from the same session as the above) is the name often used to describe Moon's form of music.This is one of the few truly boogie orientated tracks Moon ever recorded (Moon was much more blues and ragtime orientated than boogie).
176. "MEMPHIS BLUES" - W.C. Handy is credited to writing this one but it may have been even older.Moon does it as an instrumental and it was from the same session as the previous 2 mentioned tracks.
177. "THE TOKYO BOOGIE" - Moon began to record many songs with boogie in the title.This is one of many.Though Moon's performance is excellent,the song is a poor relation to "Cherokee boogie","Rheumatism boogie" and other similar recordings Moon did in the boogie idium.
178. "ROCK 'N' ROLL MR BULLFROG" - this performance,done in 1956,was one of Moon's last for King.It is,along with "7 nights to rock",Moon's best attempt at the so-called 'rock 'n' roll' genre.This is,however,basically a Jump blues type track and compares favorably with "I done it" or "Rheumatism boogie" from before.
179. "MEXICALI ROSE" - from an all organ instrumentals session for King in the 1950s,this was a version of an old standard made famous by Gene Autry,Bing Crosby and Bob Wills.
180. "PAN HANDLE RAG" - this,like "Mexicali Rose",was an organ instrumental from the same session.This particular piece was a signature tune of Bob Wills' band member,Leon McAuliffe.
181. "MR. HONKY TONK MAN" - a lively vocal/piano track from the 1960s Spar album of the same title.Very much in the mould of "Good times are gonna roll again".
182. "I DON'T LIVE ANYMORE" - from the fun of the title track,to this sombre blues tinged ballad,Moon proved once again on his "Mr honky tonk album" that he was a master of many moods and styles.
183. "MAN IN THE MOON" - a humourous send up of the space race.In style,this is jazz based Western swing.Again,a track from the Spar album "Mr honky tonk man",as are the next 9 tracks.
184. "I'M JUST ONE TEAR AWAY" - once again,Moon jumps from the happy mood of "Man in the moon" to the sombre mood of this track that is very similar to "I don't live anymore".
185. "LIVE AND LET LIVE" - one of only 3 standards on the album,this track borrows a little from Ray Charles.The song was originally a bluegrass standard and was recorded by Sullivan and Walker,Bill Monroe,Flatt and Scruggs and many others.Moon's version,unlike "Sparkling blue eyes","The lamp of life is burning low" or "Writing on the wall" Among others,was not a track that moulded bluegrass.He decides to take the song slow and bluesy and it comes close to a Ray Charles performance.
186. "I AIN'T NO BEATLE BUT I WANT TO HOLD YOUR HAND" - a record whose style owes closer to that of Jerry Lee Lewis than the Beatles, it was one of the few times Moon ever tackled real rock 'n' roll. This was about as teenage orientated as Moon got,which means it is not really a teenage song but a lively offering that could be termed 'indirect rock 'n' roll'.The title obviously owes to the Beatles' hit,"I wanna hold your hand".
187. "I REALLY KNOW WHAT LONESOME CAN BE" - from the previous escapade into 'rock 'n' roll',the second side of "Mr honky tonk man" opened with another lovesick ballad,similar to those of the same kind on side 1.
188. "WORRIED MIND" - The second standard on the album was a song that was inevitably going to be recorded by Moon at some stage.
"Worried mind" was written by Ted Daffan and was later immortalised by Bob Wills (Tommy Duncan on vocals) and Jimmie Davis.Moon's excellent version is firmly in the 1940s Western swing mould minus the more ellaborate bands that would have backed Moon during his days as a Western swing pioneer.
189. "NOBODY'S DARLIN' " - the last standard on the album was another song that seemed inevitable for Moon to tackle.First written and recorded by Jimmie Davis,Moon often covered Davis songs during his career and once again does a great job here of one of the many songs his lifelong friend made famous originally.
190. "IN THE BLUE OF THE NIGHT" - like most of the tracks on the album,this one was country balladry with a blues feel.
191. "OLD PALS ARE THE BEST PALS" - like the above and many more on the album,this was a straightforward ballad.This is not the similarly titled Jimmie Rodgers song,but the theme is identical.
192. "I'M ON MY WAY HOME" - like "I ain't no Beatle",this was another attempt to 'rock 'n' roll'.The end result here sounds like Moon has been listening to some early Charlie Rich sides and proves he is just as convincing on the style.
193. "12th STREET RAG" - tracks 193 to 196 are all taken from excerps of Moon's contributions to the Grand Ol' Opry.These are among the few live performances we have of Moon.He proved to be an excellent live entertainer and always did songs he didn't record.
"12th street rag" is a fine piece of ragtime.
194. "THERE'S A NEW MOON OVER MY SHOULDER" - this song was tailor made for Moon and it was only inevitable he'd record it.The most famous versions over the years have been by Jimmie Davis,Tex Ritter and Jim Reeves.
195. "SHINE ON HARVEST MOON" - likewise,another 'mono song' that fitted Mullican like a glove.Moon proved to be a lot closer to blues,jazz and swing than most,arguably all,other artists in the country music category.Even when Western swing wasn't the force it used to be,Moon kept doing it.In this way,he is akin to Bill Monroe, who stood by bluegrass thick and thin.
196. "BLUE TEARS" - with an introduction echoing "Pipeliner blues", this lyrically more complex and melodically more jazzy blues proves another winner from Moon.
197. "CRIPPLED FOR LIFE" - this country ballad tells the story of a man who goes on a drinking binge and crashes and ends up a cripple.
198. "THERE GOES THE BRIDE" - a defiant country love ballad,a little like "Wedding bells are ringing the chapel". Written by bluegrass fiddle legend Merle 'Red' Taylor.
199. "CUSTER'S LAST STAND" - As Moon had grown up in 'cowboy country',and his parents would have been in their prime around the time of the 'Wild west',Moon often turned to western story songs in his career.Unlike "Gamblin' Blackie",this one is a lot more lighthearted and isn't as good.It probaby did,if anything else, inspire Cecil Harrelson to write "Lincoln Limousine" for Jerry Lee Lewis.However,if Moon was left to sing it on his own,it would have been much better.Recorded for Musicor.
200. "LOVE THAT MIGHT HAVE BEEN" - The b-side to "Custer's last stand" is a far more essential recording.No background singers taking over and Moon's emotional singing to the fore.This echoes any of Moon's best early efforts of a similar manner.
201. "MOON'S TUNE" - Recorded for King in 1949.The b-side of Moon's most famous hit ("I'll sail my ship alone") is a bit of self promotion for Moon,setting the record straight.Moon's first 2 big hits were the uncharacteristic "New jole blon" & "Jole blon's sister".These were probably the 'funny little songs' Moon scorns here.Moon also talks about he being firstly interested in singing and people only taking him for granted as just a pianist.In style,it is a jive talking blues,a little reminiscent of "Wait a minute".
202. "JOSE, THE MEXICAN BOY" - country guitarist Ernie Newton,who also worked with Hank Williams,wrote this Mexican style song.Though the story is simple and the Spanish Newton knew vague,one thing is sure - Moon can deliver the goods and sounds like a Mexican.Recorded for King in 1954.
203. "SOMEONE MORE LONESOME THAN YOU" - the b-side to "Mexican boy" is one of Moon's finest later-King-period country ballads.In 1954, such performances as these in country music were getting fewer and further between.
204. "WHEN LOVE DIES WHERE DOES IT GO" - also,from the same session is this cool blues song.This was one of the most difficult to sing, and also most original blues Moon ever recorded.This is Moon at his very best without doubt.
205. "SWEETER THAN THE FLOWERS NO. 2" - in 1949,Moon recorded this sequel to his 1948 country/bluegrass hit "Sweeter than the flowers". This time,it is his father's death he sings about.Due to Moon's emotional,blues soaked vocal,this is far better than the original "Sweeter than the flowers".
206. "WHAT MY EYES SEE MY HEART BELIEVES" - In 1948,Moon was an established country star.With this track,he hones in on the style of many contemporary country styles.There's a bluegrass feel to this for sure and it showed Moon was listening to what other were doing.
207. "OH SHE'S GONE BUT NOT FORGOTTON" - this 1947 song is without a doubt the highlight of the "Many moods of Moon Mullican" album.A cool blues with a nod to the traditional "Clementine",bluegrass and "Jole blon" to keep country audiences happy.
208. "WHY DON'T YOU LOVE ME" - A tender ballad from the same session as the above.With blues songs like "Oh she's gone","I left my heart in Texas" & "Trifling woman blues" also done at the same session, Moon truly demonstates how few his musical boundaries actually were.
209. "MY TEARS WILL PUR JUST LIKE RAIN" - this is a country with blues feel performance with a touch of swing.It was recorded in 1949 at the same session as the similar but more famous "I was sorta wondering".
210. "DOWN BY THE RIVERSIDE" - in 1963,in Kansas,Moon performed 2 songs live.The first was "Pipeliner blues" & the second was this.Both performances are major highlights on a various artists album of country artists recorded that night.While many artists recorded a secular and inferior version of "Down by the riverside",Moon remembered the original spirirual version and was backed by a qaurtet gospel group.This song is more proof of the fine line Moon drew between blues and gospel,as it has echoes of both and was common among bluesmen.
211. "HEY SHAH" - at Moon's final King session in 1956,we have what is probably Moon's best Cajun song done at the label.The lyrical theme of rivalry in love is a classic blues/country theme and is typical of Cajun blues/bayou blues as well.This song fits neatly in there and would suit Clifton Chenier as well.
212. "MAYBE IT'S ALL FOR THE BEST" - From the same session as "Shah", this track is a ballad that would have appealed to Nat King Cole. Moon's final King session proved to be an apt roundup of his years at King as it featured Jump blues music,country,swing,Cajun and novelty. Basically,a bit of everything and it showed how aasily Moon could jump from something as silly as "Honolulu rocka rolla" to blues,swing and Cajun masterpieces beyond compare.The simple fact is: Moon could have become as famous as Bing Crosby or Frank Sinatra if he had been on RCA or Capitol in the 1940s and early 1950s.
213. "TOO MANY IRONS IN THE FIRE" - throughout the late 1940s and early 1950s, Moon was recording outstanding ballads that were capable of being big hits in more than one chart. Since "I'll sail my ship alone" hit number 15 on the pop charts as well as being a country number 1, Moon had a sizable pop audience as well. Performances like this would have pleased those fans.
214. "ST. LOUIS BLUES" - Moon Mullican was one of the greatest talents live. It is a pity that more of his live work isn't documented. One of the greatest things about Moon is that he would often turn to material he didn't record in studio when he gave a concert. The blues were always an important part of his stage show and his wild rendition of "ST. Louis blues" as well as numerous live versions of "Pipeliner blues" is an indication of the awesome power of a blues orientated Moon Mullican in concert.
215. "I'LL NEVER LET YOU GO" - Not many can go from gutbucket blues to gentle oldtime pop balladry in concert. Moon can turn from genre to genre and sing them all like they should be sung and is one of the few who can do this. Like "St Louis blues", Moon never sang this in studio.
216. "WANTED" - In 1954, this song was recorded by Moon for the country market and by Perry Como for the pop market. Como's rendition topped the charts, though Moon's performance is superior and just as convincing as an oldtime pop performance. Moon's bluesy feel is in evidence in his singing here.
217. "THE TIE THAT BINDS" - This early performance from Moon echoes more of a Jimmie Rodgers ballad feel than a Moon Mullican style. However, it shows Moon's love of Rodgers' music and also his ability to put across a story song more sincerely than any of his rivals. Jim Reeves would cover this later on, sounding not unlike Moon Mullican. Reeves was a member of Moon's band for live performances around the time Moon did this in 1947.
218. "TROUBLE TROUBLE BLUES" - In performance, this uptempo 12 bar blues is very similar to the more famous "Pipeliner blues". It even shares the 'if you see me coming' stanza with it. Also, there is evidence of Jimmie Rodgers' influence here again: Moon uses the 'if you don't want me Mama, you sure don't have to stall' stanza from Jimmie's first big hit, "Blue yodel". "Blue yodel" was one of the songs that Moon performed live in the 1930s. Moon would later appear at numerous Jimmie Rodgers festivals and do renditions similar songs.
219. "SAVE A LITTLE DREAM FOR ME" - this is a close cousin of the later and more famous "Wedding bells are ringing in the chapel". The melody and sentiment are the same and that is no coincidence because it was written by the same person. Arthur Q. Smith wrote both of these songs and also contributed others, such as the later Mullican song "Leaving you with a worried mind". Moon's 2 songs are the only ones where Smith's own name seems to be given as author, though. Smith often sold songs for drinking money and "Wedding bells" was sold to bluegrass artist Claude Boone. "Wedding bells" was made famous by Hank Williams Sr., one of Moon's most ardent fans. Moon's rendition of "Save a little dream for me" is very much a precursor to the style Hank Williams would make famous and all.
220. "A MILLION REGRETS"
221. "IF YOU DON'T WANT NO MORE OF MY LOVING"
222. "I'M SO BLUE (I DON'T KNOW WHAT TO DO)"
223. "I DON'T KNOW WHAT TO DO"
224. "YOU GOT THE BEST OF ME"
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