Townes Van Zandt Covered an Elvis Song About a Shrimp?

On more than one occasion, Townes Van Zandt made what seemed like an odd choice in performing an Elvis Presley song about a shrimp.

At more than one performance, the great singer-songwriter Townes Van Zandt covered a song about a shrimp. I do not know if he ever fully explained why he chose to perform “Song of the Shrimp” (aka “Shrimp Song”). At first, the selection seems an odd choice. Elvis Presley sang the unusual song in the 1962 film Girls! Girls! Girls! Why would Van Zandt choose what seems like one of the throwaway Elvis movie songs from a lightweight musical?

Perhaps it was part of a joke to Van Zandt. He famously had a dark sense of humor that came through in his songs, many of which are about death. And “Song of the Shrimp” is funny, not just for being a sea shanty originally heard from Elvis. The song also finds humor in a shrimp’s boast that will most likely lead to his own death.

Townes Van Zandt did seem to recognize that “Song of the Shrimp” was an unusual song choice for him. He even cracks up while performing the song on the live recording Live at McCabe’s. By contrast, when he once performed another song about an animal that Elvis Presley also recorded, the song was “Old Shep.” And instead of invoking laughter the song about a dog’s death seemed to make Van Zandt choke up.

The Shrimp’s Story

“Song of the Shrimp,” written by Roy C. Bennett and Sid Tepper, tells the story of a little shrimp saying farewell to his parents. He plans to jump into a shrimp boat net to catch a ride to Louisiana where he can come out of his shell.

The song is a parable about the young leaving their parents to go off on their own adventures, facing their own dangers. The twist is that we know the shrimp’s adventure most likely will end with him being served in a restaurant in New Orleans. But the shrimp does not know that.

Goodbye mama shrimp, papa shake my hand;
Here come the shrimper for to take me to Louisian’;
Here come the shrimper for to take me to Louisian’.

Townes performed the song as early as October 1990, with his version of “The Shrimp Song” appearing on the live album Live in Berlin: Rain on a Conga Drum (1991). Townes Van Zandt recorded the version below live at McCabe’s Guitar Shop in Santa Monica, California on February 10, 1995.

Elvis’s Movie Song

“Song of the Shrimp” is often cited as illustrating the fact that Elvis was lost in a musical wasteland during his movie-making 1960’s. In the abstract, it is somewhat shocking that the man who contributed so much to the rebellious birth of rock and roll ended up singing a ditty about a shrimp in a film called Girls! Girls! Girls!

But on the other hand, the song fits the scene in the movie. After all, it appears in a musical film. Elvis did not choose the song for a rock and roll record.

In the film, Presley sings the song aboard a fishing boat. The sound of the song and the setting remind one of an old sea shanty. In other words, it fits the movie. And, as Townes Van Zandt knew, it is a funny song.

Other Versions

There does not appear to be a large number of covers of “Song of the Shrimp,” for understandable reasons, I suppose. Not everyone has the sense of humor that Townes Van Zandt had. A few less famous covers appear on YouTube, including one with a ukulele by German artists Preslisa And Körnel Parka Twins and one by Lowlands (feat. No Good Sister, Maurizio Gnola Glielmo).

But another well-known artist who recognized the humor in “Song of the Shrimp” was Frank Black, aka Black Francis (formerly of the Pixies). He came to the song through Van Zandt’s version, which Black described to Uncut magazine as “a really deconstructed but very entertaining version.”

Black recorded his own version of the song, which appeared on his album Honeycomb (2005). Although he originally started playing a live acoustic version of “Song of the Shrimp,” the version he ultimately recorded sounds the most modern of all of the recordings. In it, Black takes Van Zandt’s deconstruction and finds a groove beyond the song’s sea shanty origins. Check out Frank Black’s version:

Whatever happened to the little shrimp, his legendary tale has gone into history as having been recounted by some very talented musicians.

Leave your two cents in the comments.

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    John Moreland Explores New Sounds With “Birds in the Ceiling”

    Although John Moreland’s album “Birds in the Ceiling” has divided some fans, its atmospheric sound complements the searching lyrics of issues facing individuals and the world.

    {Photo: John Moreland website}

    Since John Moreland released his sixth album Birds in the Ceiling (2022), many fans of the singer-songwriter have been divided about his use of electronic sounds. While many of us came to love his acoustic backed vocals on previous albums, the new album initially seems like a departure from his signature sound, adding in layers of drum machines, sampling, and mellotron. But after a few listens, the sound begins to wash over you and you accept Moreland’s challenge to give his musical exploration a chance. Of course, the Oklahoma singer-songwriter with a great voice still writes beautiful lyrics and the acoustic guitar remains in the mix. But the overall atmospheric music on this album wins you over too.

    One may wonder how much the sounds and lyrics of the album are affected by the experiences we have been through with the pandemic and the political world. The sound of the album, written for the most part in July 2021 and produced with Matt Pence, is the music of isolation. And in the lyrics to the the songs on Birds in the Ceiling, Moreland explores themes of alienation, identities, dreams, illusions, and the search for meaning.

    And how can we not be affected after staring death in the face? The album ends with the title track, which finishes with the line, “Death alone is certain, but life is a beautiful question.” Similarly, on “Claim Your Prize,” he reminds us, “No one makes it out alive.”

    “Does it even matter?
    Does it ever last?
    I didn’t want the answer to the question that I asked;
    Can I kill a monster?
    Can I be a man?
    I can’t afford to give a damn if you don’t understand.”
    — “Ugly Faces”

    It’s heavy stuff, and maybe because of the ethereal nature of the questions and the seeking, Moreland decided there needed to be sounds beyond the physical acoustic instruments we might expect. The electronics give the album an otherworldly atmosphere that more appropriately accompanies the journey where Moreland is taking us. After all, the point of music is to express and understand things that we cannot convey in mere words.

    And here, Moreland has explained that he wanted to throw off the constraints of being identified as a certain type of artist. Instead, he wanted to be free to embrace any music that he likes, even if that includes some 90’s pop influences like Sarah McLachlan and Sheryl Crow.

    Moreland has reflected on how the recent elections also have affected his views. Living in Oklahoma, he has had to contend with watching a large number of people who taught him right from wrong seemingly no longer having their bearings on what matters. And while it is discouraging to “be exposed to the sort of aggressive hostility that is out there,” he declares he is glad he does not live in a bubble and gets to see the humanity in everyone.

    John Moreland Birds Ceiling

    January eyes fixed on iridescent lies;
    Truth be told, it’s no surprise;
    The saints came self-appointed, said they were anointed,
    And time is just a faded sign;
    The world was always ending, it was good in the beginning;
    But I don’t know how far this goes;
    Saw you standin’ in a pose, wearin’ someone else’s clothes;
    I don’t know how far this goes.
      — “Truth Be Told”

    As noted above, like the country at large, some are divided about Birds in the Ceiling, with, for example Chuck Armstrong at Saving Country Music concluding “this album was an overstep, and dramatically so.” But I’m happy to walk in the footsteps of the pilgrimage wherever Moreland wants to take me.

    If you have liked Moreland’s albums in the past and come to this one with certain expectations, give these songs more than one listen to let your expectations drift away. Moreland experimented with some different sounds on his 2020 album LP5, though we are far from the acoustic-driven High on Tulsa Heat (2015). But all of us have been through a lot since then, and we are lucky to have Moreland on the ride with us, trying to figure everything out — or to at least have some company from a friend who understands.

    This album is us in 2022.

    Leave your two cents in the comments.

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    Bon Jovi and Willy DeVille: “Save the Last Dance for Me” (Duet of the Day)

    In 1996, Jon Bon Jovi and Willy DeVille combined for a moving duet on “Save the Last Dance for Me.”

    DeVille Bon Jovi

    In March 1996, Jon Bon Jovi and Willy DeVille appeared on television in Paris, singing the classic song, “Save the Last Dance for Me.” Bon Jovi was a popular artist still riding high from his band’s music and solo work, having recently released These Days (1995), which did even better in Europe than in the U.S. DeVille, an influential singer-songwriter who had been recording for decades both with his band Mink DeVille and as a solo artist, was going through a period where he was more popular in Europe than in the U.S.

    Bon Jovi was in his early 30’s, while DeVille, due to a heroin habit he would eventually kick, looked even older than his age of 45. But here, across the generations, the pop star and the independent underground legend created magic out of a hit song written before Bon Jovi was even born. First made famous by the Drifters in a 1960 release, “Save the Last Dance for Me” also had a fascinating back story behind the song and its writer Doc Pomus (who also worked with DeVille several times throughout their careers).

    In the Paris TV performance, Bon Jovi and DeVille and the song join for an odd combination that should not work. But somehow they create some magic. Check it out.

    Leave your two cents in the comments.

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    Did Elvis Perform “If I Can Dream” Facing a Christmas Stage As In Baz Luhrmann’s “Elvis” Move?

    Baz Luhrmann’s “Elvis” movie portrays a dramatic moment where Elvis Presley shows up to perform for a TV special and surprises Col. Parker with “If I Can Dream.” Did it really happen that way?

    Austin Butler as Elvis in Baz Luhrmann’s “Elvis”

    Having read several books about Elvis Presley, I was caught off guard while watching director Baz Luhrmann’s Elvis movie (2022) as Colonel Parker and others waited for Elvis to sing a Christmas song on a Christmas set for the Singer . . . Presents Elvis 1968 television special. As portrayed in the film, Parker brings executives to watch Elvis sing about Santa Claus on a full Christmas set.

    Suddenly, Elvis, shaken by the killings of Martin Luther King Jr. and Robert F. Kennedy, appears in a white outfit. He faces the Christmas set that is all prepared and instead sings “If I Can Dream,” a “protest” song to close out what would become known as the ’68 Comeback Special. Elvis thereby flashes his independence from Colonel Parker in a last-minute surprise move, showing his dedication to music and to civil rights.

    Did it really happen that way? Well, sort of, but not quite. More importantly, why did Luhrmann make the changes he did?

    What Luhrmann’s “Elvis” Gets Right?

    It is true that Colonel Parker originally wanted Elvis to tape a Christmas special. And it is true that Elvis, supported by producer Bob Finkel and director Steve Binder, instead put together a completely different show. That show, recorded in June 1968 and broadcast in December of that year, featured Elvis singing non-Christmas songs, including staged performances and an intimate sit-down jam before an audience. The TV special ultimately only included one Christmas song (“Blue Christmas“) that Elvis performed on stage with no Christmas decorations.

    And it is true that the special re-invigorated Elvis and his music career after a decade of making movies of varying quality. And it is correct that the show closed, as actor Austin Butler portrays, with Elvis giving a powerful performance of “If I Can Dream.”

    What Luhrmman’s “Elvis” Gets Wrong?

    But there was no Christmas set or surprise Elvis performance of “If I Can Dream” while dancers dressed in holiday garb looked on. By the time Elvis performed “If I Can Dream” on the set, everyone was on board with the scrapping of the Christmas theme. And even though Parker had said that “If I Can Dream” “ain’t Elvis’ kind of song,” he was also on board with the changes by the time Elvis sang the song, realizing how much Elvis wanted to do it.

    So nobody at the set was surprised the day Elvis sang “If I Can Dream.” And there was no big Christmas scene all set up, facing Elvis as he sang or anywhere.

    Why Did Luhrmann Change the Way the TV Special Happened?

    Yes, Baz Luhrmann takes some liberties in his excellent film about Elvis Presley, but the changes highlight the drama and the choices that Elvis made. Even though in real life the original plan was for a Christmas special, Elvis’s desire for something different and his commitment did alter the course of his career.

    Having Presley sing “If I Can Dream” facing the alternate reality of the Christmas set in the movie highlights the contrast of what might have been, even if it did not quite occur in exactly the same way. It’s a wonderful visual image to illustrate what really happened. As reviewer Sean Burns has correctly noted, the film takes risks by not following the conventional sameness of TV-style movies we are inundated with these days. And such risks are necessary to illustrate Elvis’s “impact and the power of the dream therein.”

    More importantly, the difference between reality and the images in the movie can be explained by the movie’s concept itself. The movie Elvis is narrated by Colonel Tom Parker, played by Tom Hanks. So, everything in the film is shown from the memory of the character Parker. And as we see at several points, Parker is portrayed as an unreliable narrator.

    Thus, the images of the “If I Can Dream” performance should be taken, in the context of the film, as Parker’s recollection (or the recollection of the movie “character” of Tom Parker). So, Hanks’s Parker in old age is in 1997 remembering back to the 1968 performance. Thus, it makes sense that the character’s unreliable memory creates a more dramatic moment than reality.

    So, in the movie character Parker’s memory of Elvis rejecting his plan for a Christmas special, it all comes to a head with Parker wearing in a Christmas sweater sitting with executives from the sponsore. In Parker’s memory in the film, Elvis was going to sing “Here Comes Santa Claus” right up to the final moments, with the stage all set up.

    In reality, though, the closing song at one point was “I’ll Be Home for Christmas.” The movie character’s “memory” of of the more jovial “Here Comes Santa Claus” creates more of a contrast with Elvis’s chosen closer “If I Can Dream.” And Parker’s faulty memory of the song, the stage, and the dramatic moment all highlight the betrayal Parker felt when Elvis rejected his plan.

    “If I Can Dream”

    The song “If I Can Dream” was written specifically for Elvis and the special. So it would have been difficult to hide the surprise. W. Earl Brown wrote “If I Can Dream” for Elvis Presley once it was decided that the show would close with something other than a Christmas song. The song indirectly echoes some of Dr. Martin Luther King Jr.’s language because the songwriters understood how King’s assassination in Memphis had affected Elvis.

    There is reference in Elvis to “If I Can Dream” as a “protest song.” But the words are much more generic than a specific protest or direct call for social justice. The lyrics themselves really cannot be offensive to anyone. But it was a change for Elvis, who had generally avoided anything with a whiff of politics.

    There must be peace and understanding sometime;
    Strong winds of promise that will blow away the doubt and fear;
    If I can dream of a warmer sun,
    Where hope keeps shining on everyone,
    Tell me why, oh why, oh why won’t that sun appear
    ?

    So, it is not a strong protest song on its face. We do get “a beckoning candle.” And the singer does “dream of a better land /Where all my brothers walk hand in hand.”

    Yet, any vagueness in the lyrics is overcome by Elvis’s impassioned performance. Elvis’s energized vocals on the song, as well as the language that indirectly invokes Martin Luther King Jr., creates a strong statement from someone who did not make strong statements. I love the song and Elvis’s performance.

    The movie features another image that reflects another truth about the recording. Before showing Elvis on stage singing the song, Luhrmann has Elvis on his back on the floor singing it while others look on. It is true that at one point during the recording of the record in the studio, Elvis did lay down on the floor, actually in the dark, to get more power in his vocals.

    After the ’68 Comeback Special closed with “If I Can Dream,” Elvis went on to make more fantastic music as part of this comeback. During the making of the special, he had told Binder, “I never want to sing any more songs I don’t believe in.” Unfortunately, he could not maintain that faith to the end. But he did create a stunning moment in 1968, even if everyone’s memory of that moment may differ.

    What did you think of Baz Luhrmann’s “Elvis”? For more about the 68 Comeback Special, check out Steve Binder’s book Elvis’ 68 Comeback: The Story Behind the Special as well as Peter Guralnick’s excellent biography of Elvis. Leave your two cents in the comments.

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    Allison Russell and Brandi Carlile Remind You That “You’re Not Alone”

    On a powerful new single release of “You’re Not Alone” to benefit charity, Allison Russell gets some help from Brandi Carlile for an inspirational recording.

    Two of the most talented living singer-songwriters Allison Russell and Brandi Carlile recently joined voices on “You’re Not Alone.” The duet is one of the most powerful pieces of music we have heard in a long time.

    The song, written and produced by Russell, as noted by her website, features “inspiring meditation on the power of ancestral strength and the essential nature of community.” Russell, who was born in Montreal, includes French lyrics in the song, stressing the universality of its message that during difficult times we can find hope from others, past and present.

    Originally, Russell’s former group Our Native Daughters included their beautiful version of “You’re Not Alone” on their 2019 debut album. In the new version of “You Are Not Alone,” the song begins with quiet strings, building in strength. The song’s musicians include Sista Strings: Monique Ross, Chauntee Ross, and Larissa Maestro.

    In the cradle of the circle (oh, In the cradle of the circle),
    All the ones that came before you (all the ones who came before you),
    Their strength is yours now (their strength is yours);
    You’re not alone.

    Why did Russell decide to release a new version of her song now, besides the fact that she has found a bond with Carlile, part of her “chosen family”? Well, recent events, such as school shootings and the Supreme Court’s decision in Dobbs, seem to have influenced the inspirational new version.

    With this release, Russell explained: “Every child deserves to be loved and protected. Our families with LGBTQIA+ parents are just as precious. No one should be forced into the sacred role of parenthood against their will. Human Rights are worth fighting for. We’ve come a long way but we must go farther still.”

    Proceeds from downloads through Bandcamp will benefit the Looking Out Foundation’s Every Town For Gun Safety Support Fund and The Fight For Reproductive Justice Campaign.

    Russell and Carlile are currently touring together. Check out Russell and Carlile performing “You’re Not Alone” live at Bethel Woods in Bethel, NY on August 19, 2022.

    Leave your two cents in the comments.

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