Author: DOuG pRATt

SOTUS Delivers Two Sharp Rights

Yesterday, the Supreme Court ruled in favor of all guns all the time. Today, it’s the end of a woman’s right to an abortion. The Radical Right wins.

Why stop there? Social Security needs to be abolished, then there’s the elimination of income tax. Finish up with a return to slavery.

Why bother passing this gun legislation? It will be challenged and the Supreme Court will invalidate it.

WASHINGTON (AP) — A bipartisan gun violence bill that seemed unimaginable a month ago is on the verge of winning final congressional approval, a vote that will produce lawmakers’ most sweeping answer in decades to brutal mass shootings that have come to shock yet not surprise Americans.

The ONLY way to deal with the easy access to guns is to repeal the Second Amendment. It won’t happen in my lifetime, but it will happen.

I was going to post this Fresh Air segment back in January, but I held off, having a feeling that much more would be revealed about the insanity of Ginni Thomas. Which has happened.

Hi-Ho Bolero

I’m yanking something from the Little Steven show that’s linked in the previous post. It’s Jeff Beck’s one and only 1960’s 45 in America under his own name. It’s a British riff on the Lone Ranger’s trademark call, “Hi-Ho, Silver… awaaaaaaaaaaaay!”

According to Joel Whitburn, the release date of “Hi-Ho Silver Lining” was 5/20/67, and it sat at #123 on Billboard’s Bubbling Under chart for only two weeks. The sound of this fantastic single scratches a major musical itch for me. Rod Stewart is lurking in the chorus. The guitar break sounds like it could have been an influence on Queen’s Brian May.

There’s a lot of disagreement about the now-legendary “Beck’s Bolero” on the B-Side, that was recorded almost a year earlier. Everything about this recording seems to be in dispute, from who wrote the track, to the producer credit, to the musician line-up.

Something that’s certain is “Hi-Ho Silver Lining” was first done by The Attack, a British band that never reached the American charts. It’s worth comparing this recording, excellent in its own way, to Mickie Most’s production.