The Day After

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"Infantile Insanity - What wisdom do the

have on The Day After?" . By Jim Tolton. minute man blinding flash tondon, New York, Moscow. Sitos empty Is anybody there - where anybody where? they panicked in vain, the What's to blame? competition, nationalism's fear, insecurity's exploitand friendships known no water just walking slowly while others panic Where are my friends my two daughters love, my comrades in Workers, comrades, this is the only world we have, yet we wait and talk of fallouts radiation. We wait and talk in doubt. We wait in wonder, what goes on above the shelter - the ground. The silence. A dog barks. What nerve. Who's purpose does it serve? A third of trees a third of grass, they told us wouldn't come to hi I begin to doubt the equivocation of the fiend, that lies like truth. Don't shoot there's no food what's your name, what food? What's going on down there? who are you folks down there? Slow death, 30 minutes - minute mans away, slow death; a new birth a no food, slow birth slow death; you have no hair too but you look great P.S.I. house that was - that was my house, where's Barry, Greg and desert forms with flat trees in ash without grace. and Willie Dixon for the Chess label; Joe Turner and Ray Charles and later a host of great soul singers with Ahmet Ertegun and Jerry Wexler for Atlantic; Fats Domino with Dave Bartholomew for Imperial. In addition there were great nomadic talents who. moved from indie label to indie label, like Ike Turner and Johnny Otis, magical producers with a wide range of hits like Bobby Robinson and Bumps Blackwell and single-minded visionaries like James Brown.

Musically there is good reason to admire the indies. There often is a sense of freedom in their music, uncommitted as some of them were to the safe, narrow, commercial formulae of the majors. The indies found and developed talent, whereas the majors loften did little more than sign on ready-formed talents and then beat out of them the very qualities that had lifted them out of mediocrity.

But the indies were, after au, not independent of the economic mechanism dominated by the majors: indeed most aspired to the position of the majors.

They were often bloodsucking employers, shameless cheats and even criminal extortionists. Often their willingness to record in the smaller towns of the South resulted from their desire to avoid payng union rates to session musicians. Their preparedness to permit freedom of arrangement to the players was often a way of avoiding paying fees to an arranger.

A second weakness of the book relates to the title: 'The Sound of the City". In his introduction, Charlie Gillett justifies. the title in the following way: "During the mid-fifties, rain of Summers snow who's to blame?

ation, their fingers on the button the capitalist bureaucracy I can't see today death rays flash can't see?

I can't play today no time to play who's hearts lost Loves what cost?

in confusion.

in Kansas, Paris, New York, Moscow? We wait.

but that flash.

Glowing emotions love in final grey ash.

The President of the US 'What can I say. "Your tragic loss your friendships known, bless America" , bless what - what God?

shoot.

baby cries a dog still barks - horses hooves, - I love you too.

Gary - where's anyone?

Hello - Hello there; we embrace without estate.

They are to blame, the ruling classes, they are insane blame.

The people are lame - layed there to rest with grass, no nothing - no face the last two embrace.

of yesterday, Mummy am I blind I like yesterday. Only panics anxiety grass, they toid us wouldn't come to harm:

friendships lost, for ever dead cinders the lost, dead grey

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no.162