Wednesday, June 18, 2025: Peter, Paul and Mary - Puff, the Magic Dragon

It's "In Memoriam" week on CSOTD. 

You may have heard about the Mother of Dragons, but today we're all about the Father of our Forever Favorite Dragon.  

Peter Yarrow (May 31, 1938 – January 7, 2025) was born in Manhattan on May 31, 1938, graduated from Cornell University with a Bachelor of Arts in Psychology in 1959, and was active in the Greenwich Village folk scene in the early 1960s.

While Peter Yarrow is a folk singer, songwriter, and activist in his own right, obviously he is best known as a member of the iconic 1960s folk trio Peter, Paul and Mary, alongside Paul Stookey and Mary Travers. The group played a crucial role in popularizing folk music and became closely associated with the civil rights and anti-war movements of the 1960s.

Yarrow was the group’s most prolific songwriter, contributing both original songs and arranging traditional material. One of his key contributions included “Puff, the Magic Dragon” – Co-written with Lenny Lipton - it became one of the group’s most beloved and iconic songs. Despite persistent rumors, it's not about drugs, but rather about the loss of childhood innocence.

After an incredible and influential run, the group initially disbanded in 1970 (they would later reunite frequently), Peter Yarrow pursued a modest solo career that combined music with activism.  While he would never eclipse the group’s success, he remained an engaged and visible figure in both music and advocacy,  staying faithful to his beliefs, and to his musical vision.

Peter, Paul and Mary's enduring legacy is one of musical idealism, where art met activism to gently challenge injustice, comfort the soul, and inspire a better world through harmony—both literal and figurative.

 

Wednesday, March 14, 2012: Paul Simon - Me And Julio Down By The Schoolyard

I don't even know who Julio is. But we dig hanging out down by the schoolyard.

But, not in a creepy way. After hours, you understand.

Tuesday, March 13, 2012: TWOfer Tuesday: The "More About Me" Edition

Here's some more people and places in my life

Tuesday, November 22, 2011: TWOfer Tuesday: The "March, 1985" Edition

March, 1985.

I was in my Junior year of High School. Ronald Reagan was just starting his 2nd term as President of the United States, while Mikhail Gorbachev replaces Konstantin Chernenko as leader of the Soviet Union.

On March 15th, the first Internet domain name is registered (symbolics.com).

"Amadeus" wins Best Picture at the 57th Annual Academy Awards.

Wayne Gretzky breaks own NHL season record with 126th assist, and Madison Square Garden hosts the very first WrestleMania, where Hulk Hogan & Mr T beat Rowdy Roddy Piper & Paul Orndorf.

And here are a couple of songs that were on the charts that month.

Saturday, November 19, 2011: Paul Simon - The Obvious Child

Paul Simon's Graceland is a masterpiece. And was widely recognized as such when it came out, a rarity that such greatness is acknowledged at it's release.

Another thing Graceland was: it was a hard act to follow.

Rhythm of the Saints wasn't the cultural juggernaut that Graceland was, "The Obvious Child", "Proof" and "Born at the Right Time" were were all released as singles, but all failed to reach the US top 40.

But, this album isn't about instantly infectious melodies and wildly popular rhythms, this album is about melodic layers of delicate exploration, this is about true insight from a master wordsmith, complexity masked as pop music.

Rhythm Of The Saints doesn't generate the happy, upbeat mood that Graceland did, the pounding Latin drums of today's CSOTD selection providing the sole exception. ROTS is almost a tone poem about maturity and responsibility overlaid against an artist's stretching and expanding musical canvas.

Yes, gentle reader, it is that good.

If you don't have this album, please do yourself a favor and get it now.

You will not be disappointed.

Wednesday, March 16, 2011: It's A Mad, Mad, Mad, Mad World

For me, a good cover version takes the song into a new direction, or even a new dimension.

Honestly, what is the point of doing a cover of something and have it sound exactly like the original?  I mean, really.

A good cover should make you look at the song differently, maybe even show you different meanings, or see new ideas.

Yes, sometimes an artist can take the creative train way all the way into Dagenham* (I'm looking at you, Flying Lizards), but generally it works.  And it rarely worked better than our first song up for today, Devo's New Wave take on the stone cold classic Satisfaction.

Almost getting into Flying Lizards territory is this lovely gem from The Cardigans.  Yes, the Swedish group known mostly for the Fluffy Cotton Candy Pop of "Lovefool" dares take on the hallowed ground of classic Heavy Metal band Black Sabbath.

But what at first seems like a joke, a playful lite-jazz counter-point to the dark, weighty crunch of the original song, soon gives way to oodles of subtle irony (natch), and even open mocking (cue the breathless fawning voices crying "Oh Iron Man"). This is an outstanding effort, a truly knowing and thought out take on a not so obvious target. Very well done.



And now for our last Mad selection. Which, ironically enough isn't Gary Jules thoughtful version of Mad World. No, it's Paul Anka's all killer version of Soundgarden's Black Hole Sun.

I'm a huge fan of jazzed up versions of popular songs, I especially like the work of Richard Cheese and Lounge Against The Machine. In fact, his take on Gun's And Roses Welcome To The Jungle needs to be mentioned in any discussion of cool covers.

The downside, however, with Richard Cheese is that he knows he is being clever and ironic. So, while his stuff is funny and provides a very well needed stab at the pretentiousness of today's music, I just end up feeling that he never really connects with his material. I realize that sounds like a typical "critic" thing to say, but compare Mr Cheese's Welcome To The Jungle with Mr Anka's version of Black Hole Sun, and you'll see what I mean.

Paul Anka makes you believe that he believes in the material. I have no idea if he is actually being clever and ironic, he may well be, but he never lets the listener in on the joke. And that's the trick, that's where the magic happens. This song is (almost) as straight as Put Your Head On My Shoulder.

And, friend, THAT is glorious.




* Dagenham is three stops past Barking. Barking Mad, you see. . . .oh, never mind.