While previous questions remain unanswered, let's move on...
Here are some words I couldn't decipher, especially ones right after [Roy Hogsed and his Rainbow Riders Trio – “Let's Go Dancing”]: That was Roy Hogsed and his Rainbow Riders Trio, “Let's Go Dancing.” He was dancing all night, let’s go both sheets to the wind, (????) and cut a rug, get (?????) and do the limbo.27 Dance
[Artie Shaw and His Orchestra – "Dancing in the Dark" in the background]
“The Lady in Red” (Ellen Barkin): It's night time in the Big City. A stray dog’s eyes glow in the dark alleyway. Tex Carbone unlocks Studio B.
“The Lady in Red” (Ellen Barkin): It’s Theme Time Radio Hour with your host, Bob Dylan.
Bob Dylan: Well, it’s Theme Time Radio Hour, and all of you should grab your partners and find your corners, ‘cause today it’s our dance party. As Mata Hari once said, “The dance is a poem of which each movement is a word.” And we have an hour worth of poetry, that you can dance to. Whether it’d be the pony or watusi, the jerk, mashed potato or line dancing, electric slide, break dancing, slam dancing; the lambada, the macarena, the chicken dance, the (crumbling)
, the round, the rondel, or the samba. So I hope you’re wearing comfortable shoes, ‘cause we’re gonna cut a rug (for) the next hour. Only one song we could start with.
[Martha Reeves and the Vandellas – “Dancing in the Street” starts playing]
Bob Dylan: Martha Reeves and the Vandellas with their cold arms
, “Dancing in the Street.”
[Martha Reeves and the Vandellas – “Dancing in the Street”]
Bob Dylan: That was Martha Reeves and the Vandellas, “Dancing in the Street.” Keith Richards has said that this song inspired The Rolling Stones’ classic “Satisfaction.” Martha was an A&R secretary at Motown, and she was supposed to sing the lyrics to new songs, so backup singers could learn them. She impressed the Motown executives, and was given her own recording contract.
[tap dance sound effect]
Bob Dylan: Here’s a song that’ll make you feel like you were born in a barn. This one’s by Roy Hogsed, called “Let's Go Dancing.” Sing us a song, Roy!
[Roy Hogsed and his Rainbow Riders Trio – “Let's Go Dancing”]
Bob Dylan: That was Roy Hogsed and his Rainbow Riders Trio, “Let's Go Dancing.” He was dancing all night, let’s go both sheets to the wind, (????) and cut a rug, get (?????)
and do the limbo.
[“Don't Be a Menace to South Central While Drinking Your Juice in the Hood” (1996) exerpt:
“Baby, you wanna dance?”
“Yes, I do, but not with you.”]
Bob Dylan: “Almost nobody dances sober, unless they happen to be insane,” H. P. Lovecraft. From Forest Hills, Queens, The Ramones, from their album “Rocket to Russia.” Doing the punked-out Bobby Freeman classic, asking the immortal question: Do you wanna Dance? Do you wanna buck-and-wing, do you wanna bolero, do you wanna conga, or you just wanna foxtrot?
[The Ramones – “Do You Wanna Dance”]
Bob Dylan: “Do you, do you, do you, do you wanna daaance...” [laughs] “Do you wanna dance under the moonlight? Squeeze and kiss me all through the night. Oh baby, do you wanna dance?” Do you wanna do the watusi, the pony, and the hand jive? Joey Ramone, along with Johnny, Dee Dee and Tommy, all brothers from different mothers, they were an influential early punk band and some people say they invented the form of pop-punk. To those who might not be familiar with the term “punk,” “whippersnapper,” “anklebiter,” “runt,” “guttersnipe,” “jackanape,” “whelp,” “squirt,” “urchin,” “snotnose,” or more commonly, “punk,” “Do You Wanna Dance,” The Ramones, on Theme Time Radio Hour dance pary.
[“The Prom: It's a Pleasure!” (1961) excerpt:
“When Jack asks for a non-programmed dance, he has a special way of asking.”
“(You look very/mighty pretty) tonight”
“Can I have the next dance please?”
“I’d love to”
“Didn’t I see you...”
“(Smooth), isn’t he?”]
Bob Dylan: From down in Baytown, Texas, on the Delphi Record label, the Bobby Fuller Four. He’s probably best known for recording “I Fought The Law.” Bobby was found dead at age 23, outside of his Los Angeles apartment building. He was covered with gasoline, and gasoline was found in his lungs. Somehow the LA coroner (ruled it as) suicide, though few people agreed. “Let Her Dance,” Bobby Fuller. One Heavy Cat.
[Bobby Fuller Four – “Let Her Dance”]
Bob Dylan: That was the Bobby Fuller Four, a song called “Let Her Dance.” One of dance you can learn to do is the bolero, it’s a Spanish dance with sudden pauses and shard turns. You can learn to do the cakewalk, that’s when you're prancing with a backward tilt. You can learn the cha-cha, that fast rhythmic ballroom dance. How about learning the conga, that Afro-Congan dance performed by a group in a single line? You can learn to dance the farruca, that Spanish Gypsy dance with sudden tempo and mood changes. You can learn to dance the hora, a circle dance, you can learn to dance the hula–a sinuous Polynesian dance with rhythmic hip [page turns] movements. You can learn to dance the jitterbug, the jazz dance featuring vigorous acrobatic feats. Or, you can learn to dance the mambo, that Cuban ballroom dance resembling the rumba. Speaking of dancing–I love talking to Twyla Tharp, I wish you could do it. Tell to what–here’s what she had to say about the very thing we’re talking about tonight:
[Twyla Tharp: The stuff that makes you want to dance, sometimes it’ll be a melody: sometimes there’s a kind of optimism in a melody that’ll make you wanna go. A lot of the time it percussive, it’s the rhythmic, it’s the beat, whether it’s the power of beat ... or whether it’s a ... or ... –type thing, you just can’t sit still, man!]
[Libby's Sloppy Joe Commercial:
Introducing the 'Sloppy Joe,' a brand new dance. From Libby's, the pople who make 'Sloppy Joes.' Just heat, and eat, and swing to the beat. Nothing like it anywhere. Get beef or pork. What do you kids think of it?
“Man, it’s the sloppiest!”] (http://www.charter.net/video/play/162811/
Bob Dylan: This next song can eat your heart out. This is Anita O'Day, doing a Rodgers and Hart song. All about taxi dancers, “Ten Cents a Dance.” In this song, she was “one of those lady teachers, a beautiful hostess, you know, the kind the Palace features, for only a dime a throw. Fighters and sailors and bowlegged tailors, can pay for their ticket and rent me!” Taxi dancers were dance hostesses at dance saloons and dance halls. Some of them would be teachers, but mostly they would supply the women for lonely men to dance with. Taxi!
[Anita O'Day – “Ten Cents a Dance”]
Bob Dylan: That was Anita O'Day with her song about taxi dancers. [rain in the city sound effect]
Bob Dylan: There was a girl
who danced in the city that night,
that April 22nd,
all along the Charles River.
It was as if one hundred men were watching
or do I mean the one hundred eyes of God?
The yellow patches in the sycamores
glowed like miniature flashlights.
The shadows, the skin of them
were ice cubes that flashed
from the red dress to the roof.
Mile by mile along the Charles river she danced
past the benches of lovers,
past the dogs pissing on the benches.
She had a red, red dress
and there was a small rain
and she lifted her face to it
and thought it part of the river.
And cars and trucks went by
on Memorial Drive.
And the Harvard students in the brick
hallowed houses studied Sappho in cement rooms.
And this Sappho danced on the grass.
and danced and danced and danced.
It was a death dance.
The Larz Anderson bridge wore its lights
and many cars went by,
and a few students strolling under
their Coop umbrellas.
And a black man who asked this Sappho the time,
as if her watch spoke.
Words were turning into grease,
and she said, "Why do you lie to me?"
And the waters of the Charles were beautiful,
sticking out in many colored tongues
and this strange Sappho knew she would enter the lights
and be lit by them and sink into them.
And how the end would come -
it had been foretold to her -
she would aspirate swallowing a fish,
going down with God's first creature
dancing all the way. [rain in the city sound effect fades out]
“The Red Dance.” Anne Sexton, def Bostonian Poet.
“And, one, two, three, we have rock step with a cha-cha-cha”]
Bob Dylan: Here’s another dance track on Theme Time Radio Hour, called “My Baby Don't Dance to Nothin' But Ernest Tubb” and I thought the guy singing was Ernest Tubb, but it turns out it’s Junior Brown, in his early days.
[Junior Brown – “My Baby Don't Dance to Nothin' But Ernest Tubb”]
Bob Dylan: From Junior Brown’s 19 and 93 (sic! - ?) album, called “12 Shades of Brown,” “My Baby Don't Dance to Nothin' But Ernest Tubb.” I only wish I knew a girl like that! Junior remembers watching Ernest Tubb on TV when he was young, and always being a big fan of his. Later on he met Ernest Tubb and Ernest Tubb gave him some good advice: “Keep it country, son.” That's what ET said to him.
Bob Dylan: I got a friend who learned how to become a ballerina, she’s improving by leaps and bounds.
Bob Dylan: This next record called “Dance the Slurp,” and was put out by 7-Eleven to promote their Slurpees. DJ Shadow and Cut Chemist use it as the basic rhythm track for their dance mix called “Brainfreeze.” People talk about the obscurity of my songs… Oh, yeah? Give a listen to this!
[7-Eleven – “Dance the Slurp”
[23:25: Bob Dylan: You get brain-freeze when cold stuff touches the roof of your mouth.— It sets off a nerve reaction that causes the blood vessels in your brain to swell. When they swell— you get a headache. 7-Eleven customers slip and slurp 11.6 million— Slurpee beverages every month]
[23:51: Bob Dylan: Let’s get it going]
[24:16: Bob Dylan: 7-Eleven sells close to 100 million fresh grilled hot dogs every year. The 32 oz Big Gulp was introduced in 19 and 80. But in 19 and 88 they introduced the Giant— 64 oz Double Gulp. That’s a lot of soda. Good think tax payers don’t have to pay for your health care.]]
Bob Dylan: From Brooklyn, New York here are The LeBrón Brothers: Pablo, Jose, Angel, Frankie, and Carlos. Urban and funky with a little bit of R&B. “Dance, Dance, Dance.”
[The LeBrón Brothers – “Dance, Dance, Dance”]
Bob Dylan: A little bit of Boogaloo fury from the LeBrón Brothers, “Dance, Dance, Dance.”
Bob Dylan: Albert Einstein once said: “Dancers are the athletes of God.” Who am I to argue with Albert Einstein? This is Theme Time Radio Dance program, and we have had a lot of requests to play a good kazatzka. For those of you who don't know, the kazatzka is a Slavic folk dance performed by a couple. And I think it’s never been done as beautifully, as it’s done here, by The Turbans.
[The Turbans – “When You Dance” starts playing]
Bob Dylan: This record is one of the first Doo Wop records to play a good kazatzka.
[The Turbans – “When You Dance”]
Bob Dylan: I promised my barber I would play a kazatzka. Here you go, Carl. The Turbans were from Philadelphia, and recorded for the Herald record label, where they were backed up by Leroy Kirkland. A lot of people ask if they actually wore turbans. You bet they did, and they weren’t the only performers who wore turbans. Eddie Bo wore a turban, so did Chuck Willis, Dr. Lonnie Smith, Screamin' Jay Hawkins, and Professor Longhair, and perhaps most importantly, Domingo Samudio, better known as Sam the Sham, who certainly wasn’t L-7.
[Delroy Wilson – “Dancing Mood” starts playing]
Bob Dylan: Delroy Wilson, he’s in a dancing mood. Recorded for the Studio One label. This record’s from 19 and 66, when he was 18 years old.
[Delroy Wilson – “Dancing Mood” ]
Bob Dylan: I'm in a dancing mood, I'm in a dancing mood, three times he's in a dancing mood! And he feels the heat, and he has to move his feet and clap his hands. Delroy Wilson, on Theme Time Radio Hour. He’s from down in Kingston, Jamaica. Born there 19 and 48, (left) the Earth in 19 and 95.
Bob Dylan: Scientist have shown, even hens are happier and produce more eggs when played calming music. It must help their mood. Mus(a)c(?)
affects our moods, sometimes you don’t even notice it’s there, because it slow down and equalize your brain waves. Calming music is a good thing. Unless you don't want to be calm!
[Bunker Hill – “The Girl Can't Dance”]
[siren sound effect]
Bob Dylan: You know what that sound means! It means it’s email time again. Today's email is from Mary Quigley
, from Burbank, California. She writes us: “Dear Theme Time, I find your show very entertaining. I only wish it could be more educational.” Thank you Mary, for your enthusiastic letter. Let me enlighten you about something. Alexander Pope, the English pope, said that a little learning can be a dangerous thing. Drink deep or taste not the Pierian Springs. The Perian Spring, Mary is on Mt. Olympus, a sacred place to the muses, the 9 sister goddesses who inspire song and poetry, all the arts and sciences, and dances too. A little dancing is also a dangerous thing, so let's embrace the danger here tonight, on Theme Time Radio Hour. Here’s a guy who sings as smoothly as he dances, Frederick Austerlitz, or as I call him, Fred Astaire. The smoothest dancer known to man.
[Fred Astaire – “I Won't Dance”]
Bob Dylan: That was Fred Astaire with “I Won’t Dance.” No twist, no two-step; no rumba, no polka; no Charleston and no swing. He says he won’t dance, so don’t ask him. But you can see him dancing in the following movies: “Flying Down To Rio,” “The Gay Divorcee,” “Top Hat,” “The Barclays of Broadway,” “Holiday Inn,” “Easter Parade,” and “Funny Face” where he dances with Audrey Hepburn, and dresses up like a beatnik. Perhaps his most famous partner was Ginger Rogers who, someone said, could do everything that Fred Astaire could do but backwards, and wear(ing) high heels.
[Roy Newman – “I Can't Dance (I've Got Ants in My Pants)” starts playing]
Bob Dylan: Roy Newman’s got ants in his pants, and he can’t dance. Roy was a Western Swing bandleader. He was making records even before Bob Wills. He was about the least countrified of the Western Swing band artists. He used a lot of clarinet, giving his band a Dixieland flavor. Holly Horton played the clarinet, and Cecil Brower on the fiddle, Walter Kirkes on the banjo, and of course, Ish Irwin on the bass.
[Roy Newman – “I Can't Dance (I've Got Ants in My Pants)”]
Bob Dylan: That was Roy Newman, “I Can't Dance (I've Got Ants in My Pants).” Ants serve an important function in nature. They aerate the soil, break down organic matter, and control the population of other insects. So you shouldn’t wanna destroy them altogether. Just keep ‘em out of your pants, and then you’ll be able to dance.
Bob Dylan: Coming up next is Chris Montez. His former name is Ezekiel Christopher Montanez, he’s from Los Angeles, California, and recorded this song in 19 and 62.
[Chris Montez – “Let's Dance” starts playing]
Bob Dylan: This song went to number 4 on the Billboard charts, and even higher in England, where it reached number 2. “Let’s Dance.”
[Chris Montez – “Let's Dance”]
Bob Dylan: That was Chris Montez, “Let’s Dance.” You might have hear him talking about the twist, that is a dance featuring many gyrations of the hips, he was also talking about the stomp, if you wanna dance this dance, you just stay in one place, wiggle around just a little bit, and stamp your feel.
[Mountain – “"Mississippi Queen" in the backgroung]
Bob Dylan: This next song features the cowbell, and instrument you’ll hear on many fine records, including, Mountain’s “Mississippi Queen.” As Christopher Walken knows, you can’t have enough cowbell.
[“Saturday Night Live” (04.08.2000) excerpt:
“I'm telling you, fellas, you're gonna want that cowbell...
I got a fever! And the only prescription... is more cowbell!”]
Bob Dylan: Here’s a song that’s gonna drive Christopher Walken nuts. This is “Dancing to the Rhythm of a Rock ‘n’ Roll Band,” Eddy Seacrest and The Rolling Rockets.
[Eddy Seacrest & The Rolling Rockets – “Dancing to the Rhythm of a Rock ‘n’ Roll Band”]
Bob Dylan: That was Eddy Seacrest and The Rolling Rockets. He recorded a song called “Shakin’ with a Flavor” for the KRC label. He was very popular in Charleston, West Virginia, and he was discovered by Lloyd Price of “"Lawdy, Miss Clawdy” fame. “Dancing to the Rhythm of a Rock ‘n’ Roll Band,” on the Theme Time Radio Hour Dance Party.
Bob Dylan: The name on the label was Bill Parsons but it was really Bobby Bare. The record went all the way to number 2, the record company didn’t wanna lose a good thing, so they released Bobby’s next few singles, like this one, under the name Bill Parsons.
[Bill Parsons – “Dance Dance Dance” starts playing]
Bob Dylan: In this song Bobby’s saying that he’s shaking in his pants, and he’s looking at her, and she says “Huh? Let’s dance.”
[Bill Parsons – “Dance Dance Dance”]
Bob Dylan: That was Bobby Bare, recording under the name Bill Parsons, “Dance Dance Dance.” Bobby went in to the army, and when he came out, he started recording under his real name. He was roommates with Willie Nelson. That must have been quite an apartment.
[“Saturday Night Fever” (1977) excerpt:
“Thing is, the high I get at 2001 is just dancing. It's not being a bastard or anything.
But, you see, dancing, it can't last forever.
It's a short-lived kind of thing.”]
Bob Dylan: We’ve only got time for a couple more songs on Theme Time Radio Hour, and we’re gonna have to stop. But Archie Bell and the Drells, they can’t stop dancing. This is a song written by Gamble and Huff. And a lot of people remember Archie’s big hit “Tighten Up.” But I’ve always enjoyed this one.
[Archie Bell and The Drells – “I Can't Stop Dancing” starts playing]
Bob Dylan: It’s always had a strange effect on me. Don’t matter where I’d be, whenever I hear a drummer play that funky beat, I drop everything and get out of my seat. “Can't Stop Dancing.”
[Archie Bell and The Drells – “I Can't Stop Dancing”]
Bob Dylan: That was “Can't Stop Dancing” by Archie Bell and The Drells. A great example of that Philly Soul sound.
Bob Dylan: If you can’t stop dancing you might as well start thinking about entering a dance marathon. They were very popular during the Depression. And the general rule was, you cannot fall asleep while dancing, and you were given a two minute break every hour. There are some great movies about dance marathons, perhaps most famously “They Shoot Horses, Don't They?” which won 6 Academy awards. Both Red Skelton and Lord Buckley were MCs for dance marathons. The Blue Laws eventually shot them down, because they were unhealthy. Some contestants even died during dancing.
[“They Shoot Horses, Don't They?” (1969) excerpt:
“Yowza, yowza, yowza! As the clock of fate ticks away, the dance of destiny continues. The marathon goes on, and on, and on! How long can they last? Let's hear it, come on! Let's hear it, let's hear it.]
Bob Dylan: We got time for one more, and this is Buck Owens, doing the Doc Pomus and Mort Shuman song, made famous by The Drifters. But Buck sure makes it (his own) here. “Save the Last Dance for Me,” Buck Owens and the Buckaroos.
[Buck Owens and the Buckaroos – “Save the Last Dance for Me”]
Bob Dylan: Buck Owens and the Buckaroos, “Save the Last Dance for Me.” Well, it’s the end of another hour, and you know what that means. We gotta go for another week. Thanks for joining us here on Theme Time Radio Hour, we sure had fun dancing up a storm with ya. Now, if you excuse me, I got to go soak my feet. See you next week.
[“Top Cat (underscore)”]
“Pierre Mancini”: You’ve been listening to Theme Time Radio Hour, with your host, Bob Dylan. Produced by Eddie Gorodetsky. Associate producer, Sonny Webster. Continuity by “Eeps” Martin. Edited by Damian Rodriguez. Supervising editor, Rob Macomber. The Theme Time research team: Diane Lapson and Bernie Bernstein, with additional research by Lynne Sheridan, Kimberly Williams, and Robert Bower. Production assistance by Jim McBean. Special thanks to Randy Ezratty, Debbie Sweeney, Coco Shinomiya, and Samson's Diner. For XM Radio, Lee Abrams. Recorded in Studio B, The Abernathy Building. Studio engineer: Tex Carbone. This has been a Grey Water Park Production in Association with Big Red Tree.
“Pierre Mancini”: This is your announcer, Pierre Mancini, speaking.
“Pierre Mancini”: Join us again next week for Theme Time Radio Hour, when the subject is, “Sleep.”
Bob Dylan: I’d be a great dancer except for two things–my feet.