“Mr. Bojangles”
[NOTE: Some commenters requested I write about different versions of this song, so your wish is my command.]
Here’s Jerry Jeff Walker, who wrote the song:
The song is based on a true encounter Walker had with a man in a New Orleans jail cell. I’d always conceptualized the Mr. Bojangles figure in the song as an old black man, although I was well aware that it wasn’t Bill Robinson. But Walker has made it clear it was an old white man; no matter, the song is one of those classics that’s been covered by tons of people. Here’s Walker’s version (Walker was born Ronald Clyde Crosby, and try as I might I couldn’t find a reason he’d change his name to Jerry Jeff Walker from the seemingly equally serviceable Ronald Clyde Crosby):
I give Walker major respect for writing this wonderful song that paints such a vivid picture and has such a lovely tune. But I have to confess that even though I very much like his version, and even though I often prefer originals to covers, this isn’t one of those times. I think the reason is that I just don’t find his voice tremendously interesting, although it’s fine.
The first version I ever heard was the one that became most famous, from the Nitty Gritty Dirt Band. And it remains my favorite. Perhaps it’s that way for you, too. There are two main reasons I really like it: the high harmony that comes in the second half of the song (I love harmony, as you know) and the mandolin. The arrangement is genius, and adds poignancy and punch:
The story of how the Nitty Gritty Dirt Band came to record “Mr. Bojangles” is stranger than the story of how Walker came to write it (from 00:18 to 4:49):
I also heard Neil Diamond’s version early on and liked it. It seemed improbable to me that his voice would be well-suited to the song, but it was, and the arrangement has a guitar part that I find especially wonderful at 1:25-1:42, setting up a theme that repeats several times throughout the rendition:
I suppose I should mention Sammy Davis, Jr., who made the song a sort of anthem for himself. He did a very show-biz version that doesn’t appeal to me, but the song obviously meant a lot to him, probably because of his own vaudeville roots (he started as a toddler in a family act, traveling around the country with his father and uncle). For Davis – unlike the other singers – the dance aspects of the song loomed large.
So here he is:
I see that John Denver did a version, too; I hadn’t known that before. I couldn’t quite picture that crystal clear high voice singing this song, but I was surprised at what he does with it. It’s an understated version with a very simple guitar arrangement, both beautiful and touching:
It’s not really a woman’s song, but Nina Simone is always interesting and is incapable of singing anything that’s not good:
But for me it’s still the Nitty Gritty Dirt Band that leads the rest.
[ADDENDUM: Funny thing – this thread really brings home to me something I already knew, which is that reactions to any sort of art or performance (and perhaps especially music) are highly individual and differ greatly. But for me, this song is not especially maudlin or even sentimental – although I may be in the great minority in that reaction.
For example, the part about the dog has nothing to do with the song’s appeal for me, although when I researched this post I learned that the dead dog looms large in the minds of many who love the song (possibly for that reason) and in the minds of many who hate the song (possibly for that reason).
I’m very fond of dogs, but I barely noticed the dog in the song. Why do I like the song? As I said, I like the tune and the high harmonies. I also find the song somewhat moving, but the moving part for me has to do with the idea of art. The song is set in a jail cell for people rounded up for public drunkenness. The guy being described is basically an old vagrant drunk, but he’s got a skill: dance. That skill is something that means a lot to me. And so he entertains by dancing a bit in front of the other drunks cooling off in the cell. And they enjoy it.
That’s what the song’s about to me – the power of skill and art to persist in the face of decline, and to continue to mean something to people.]
I disagree that Nitty Gritty Band is the best version. Dave Bromberg is the best IMHO. I heard his version one late night on THE Ohio State University indie radio (guess where I matriculated). It is the story that does it for me. For some reason it always stuck with me.
https://www.youtube.com/watch?v=muG8kDYbZ5Q&ab_channel=CharlieDanielsCharlieDanielsOfficialArtistChannel
Speaking of the Nitty Gritty Dirt Band, the ensemble song “Will the Circle be Unbroken” is a work of art. These are heavy hitters of Nashville at the time.
https://www.youtube.com/watch?v=7bRJLkNqNXI&ab_channel=ronthesledgeronthesledge
So Ricky Skaggs is on this song. There is a daughter Molly Skaggs who is an Evangelical Christian at Bethel Church. They recently re-did a song called “Ain’t no Grave” which I will play loudly on Easter Sunday. A totally different sound from the original
https://www.youtube.com/watch?v=nGncW_ueyHA&ab_channel=Kinta-ArchitectKinta-Architect
It has been covered many many times. Here is Johnny Cash’s cover.
https://www.youtube.com/watch?v=o0MIFHLIzZY&ab_channel=BethelMusicBethelMusicOfficialArtistChannel
Here is the original from Claude Ely. What a contrast. His life story is something to read. He was one of those real tub thumping, gospel singing southern Pentecostal Evangelists. I dated a woman who was one and went to several services. A real contrast for a good Catholic boy to a Catholic Mass. Read his biographical sketch on this segment.
https://www.youtube.com/watch?v=il2xXRSJLmc&ab_channel=TopRankEntertainmentTopRankEntertainment
Born in Virginia on July 22, of 1922, Brother Claude Ely is cited by many as being one of the true examples of gospel music in its purest form as an influence on rock and roll. Though probably not a major influence on rock himself, Ely’s music features the heavy rhythmic emphasis and impassioned gospel shouting that was indicative of the southern Pentecostal churches that have been seen as the birthplace of many rock forms. Ely himself was a near legendary Holiness preacher who crisscrossed the United States holding revivals and tent meetings, playing his own brand of explosive traditional songs and originals. No doubt, the sheer volume of his sound is impressive, given that it was mostly comprised of his voice and a forcefully strummed acoustic guitar. Said to have contracted TB as a boy, Ely claimed a miraculous healing that inspired him onward to become a gospel musician. The majority of Ely’s recorded work was done for the King label, with him making his first records in 1953. Many of Ely’s recordings were taken straight from live Pentecostal church services, though he also recorded in a more standard country gospel style in the early 60’s. In a legendary account, Ely is known to have died of a heart attack in 1977 while playing the organ during a sermon. He is said to be widely remembered in the areas in which he ministered to this day.
But for me it’s still the Nitty Gritty Dirt Band that leads the rest.
Maybe so, but Duke Ellington beat everyone else- by 3 decades- to writing and performing a song about Mr. Bojangles. Duke Ellington Bojangles. Also fair to say that THIS Bojangles song wasn’t about a white boy. 🙂
I count myself fortunate for having seen Duke Ellington perform at the Newport Jazz Festival in RI – he had a singer named Fire Red- and also at the Newport Jazz Festival in NYC. I also saw the Duke Ellington Orchestra perform in Argentina, led by his son Mercer.
Since I have been a good boy and said only positive and kindly, non-judgmental and affirming things in recent weeks, I will briefly deliver my honest, if admittedly uninformed opinion of the song.
First with regard to it being based on a real event: that is surprisimg news to me. Secondly, with regard to the same fact, it dies not alter my opinion.
Lastly, with regard to the song itself, both music and lyric, it stands somewhat higher in my estimation, if only marginally, than “Afternoon Delight”, Muskrat Love”, ‘Which Way You Goin Billy”, “Tin Soldier”, “Indiana Wants Me”, Paul Anka’s imortal concoction: “You’re Having My Baby”, and anything Cher has sung since 1970.
I would consider its near peers to be, “The Entertainer”, “The Candyman”, “Behind Closed Doors”, and in general, most of the material foisted on the public by Peter, Paul, and Mary.
I think it is just as heart-warming, enjoyable, and compelling as is reading the words “heart-warming, enjoyable, and compelling” printed on the cover of the supermarket tabloids, The Enquirer, or Star. Or as would be sitting in a stuffy nursing home watching a rerun of ‘The Golden Girls’ on a hot Summer afternoon.
Other than that, it’s just fine. And I calmly await the day when active technological filters are devised which will simply edit such materials out of our personally experienced realities at will.
But, that is just my opinion. And I am a guy who managed to listen to a recording of Elvis singing Old Shep, just because his dad used to sing it to him while playing the guitar, when he was a child. So go figure emotional resonance …
I agree with I Am Spartacus above, David Bromberg does the best version. He toured with Jerry Jeff Walker for a couple of years so he has his own perspective on the song.
https://www.youtube.com/watch?v=muG8kDYbZ5Q
Here’s a more recent version by Bromberg. Regarding David, Jerry Jeff Walker wrote: “Bromberg is the reason man created stringed instruments. David touched them with a lover’s fingers and they moaned that true love right back at him. The first recording (of Mr. Bojangles) was made… in Memphis… “They [the record company] had arranged for session people to play backup and thought they would get it without David… Finally, they decided to put Bromberg in to play his part on twelve-string. That was what the song needed.”
https://www.youtube.com/watch?v=SWH7Bk9kULU
My vote for Sammy Davis Jr. I’ve always thought he was far and away the most talented of the Rat Pack. While his version is certainly “show-bizzy”, he’s playing to his strengths. Just MHO as I never tire of watching him.
physicsguy:
That’s why I put all those versions in. I can see how some people would prefer any one of them. There are more good versions out there, too.
I was trying to adhere to my mother’s admonition, “If you can’t say anything nice about something don’t say anything at all.” Then I saw DNW’s comment. Obviously musical taste is personal and individual (although DNW and I are apparently sympatico regarding his 3rd paragraph and his addition of Peter, Paul and Mary in paragraph 4). This isn’t hyperbole. I sincerely believe I would rather listen to Quint’s nails on the chalkboard in “Jaws” on a loop for 3 minutes and 30 seconds than listen to anyone’s version of, “Mr. Bojangles.” I don’t mind sadness in music. When I play piano I probably noodle around in minor keys more than major keys. I don’t mind emotion in music. But maudlin? It really, really bugs me. Sorry for my rude interlude. I’ll shut up, now. 🙂
physicsguy,
Sammy Davis, Jr. was an immense talent. Great dancer. Great entertainer. Great singer. His version of, “Something’s Got’ta Give” is likely my favorite rendition of that song. I also like his version of, “Just One of Those Things.”
“Lastly, with regard to the song itself, both music and lyric, it stands somewhat higher in my estimation, if only marginally, than “Afternoon Delight”, Muskrat Love”, ‘Which Way You Goin Billy”, “Tin Soldier”, “Indiana Wants Me”, Paul Anka’s imortal concoction: “You’re Having My Baby”, and anything Cher has sung since 1970.”
I love it when I find people who feel the same as I do about stuff! DNW, you nailed this crap.
It’s interesting, though, that many of those songs, although maudlin junk, evoke certain feelings and memories of the times when they were popular. I could (but most certainly will not) share an interesting story about my life during the time “Afternoon Delight” was inexplicably a hit.
And “Indiana Wants Me!” lord I can’t go back there…who even remembers this song? Why was it even on the radio? But still, it brings back memories of the times.
About Mr. Bojangles, I don’t care for it, but if I like any of the versions, it’s definitely John Denver, because for some unknown emotional reason (actually, I do know…had to do with when I heard him sing “Leavin’ On A Jet Plane when I was around 17) I get emotional whenever I hear ANY John Denver song. Go figure.
I find that I become nostalgic and emotional most of the time I read Neo’s posts, whether they’re about Karen Carpenter or today’s politics. I feel like we’re on the verge of losing so much that is at the center of my very being.
Supporting Rufus and physicsguy on Sammy Davis Jr. While in his later years he seemed to embody “old show biz” stereotypes he was a remarkable performer with multifaceted talents.
As for Mr. Bojangles I can take it or leave it. I neither love nor hate the song.
Apologies to all for my comments launched from that Tablet with the tiny font and the spell check suppressed. I can hardly hit the small keys much less scan the text for errors.
Now, to say something positive and in agreement.
When they were alive, I never cared any more about Sammy Davis than I did Sinatra or Ella Fitzgerald.
But since coming of age and learning to appreciate “the American song book” and its various covers and artists, I also learned to appreciate the talent of Sinatra and Fitzgerald and the others, and not just enjoy it as low key background accompaniment to patio, or holiday season “cocktail” parties.
And Sammy Davis is one. who while not being at the top of the list, has nonetheless impressed the heck out of me with his treatment of certain tunes I would never have intentionally listened to but caught him singing by accident.
I think that Rufio’s picks are on target, and I would even include a treatment of what is apparently [I think] a Broadway show tune usually sung by women: “Hey There” is I think what it is called.
Saw it while looking at a YouTube presentation of an old kine-scoped TV variety show ( I think Davis was pretending to dress for dinner or a night out while singing), and thought that despite it being kind of a froufrou arrangement, his voice and a certain masculine nonchalance brought it back on center.
At least I did not have an image of that Chock Full O Nuts coffee lady from the days of my toddler-hood, floating around in acres of gauze and singing it at the same time.
Happy Easter all.
My fav version is Jerry Jeff Walker. Not because it’s so much better but because I’ve caught him live several times. There’s something about catching an act sitting in small venue with a drink in hand … it’s much more memorable.
jack,
I’d rather see a no name artist or group in a small venue than my favorite in a large one. Small clubs have wonderful atmosphere.
Funny thing – this thread really brings home to me something I already knew, which is that reactions to any sort of art or performance (and perhaps especially music) are highly individual and differ greatly. But for me, this song is not especially maudlin or even sentimental – although I may be in the great minority in that reaction.
For example, the part about the dog has nothing to do with the song’s appeal for me, although when I researched this post I learned that the dead dog looms large in the minds of many who love the song (possibly for that reason) and in the minds of many who hate the song (possibly for that reason).
I’m very fond of dogs, but I barely noticed the dog in the song. Why do I like the song? As I said, I like the tune and the high harmonies. I also find the song somewhat moving, but the moving part for me has to do with the idea of art. The song is set in a jail cell for people rounded up for public drunkenness. The guy being described is basically an old vagrant drunk, but he’s got a skill: dance. That skill is something that means a lot to me. And so he entertains by dancing a bit in front of the other drunks cooling off in the cell. And they enjoy it.
That’s what the song’s about to me – the power of skill and art to persist in the face of decline, and to continue to mean something to people.
Neo, thank you for this musical interlude. If you could please indulge me, I enjoy sharing little known but significant artists who lack recognition they deserve. Years ago I saw the late Scottish musician John Martyn in concert and was converted to a life long fan over his thirty year career. A number of people have covered some of his better known songs, but his whole catalog is worth exploring.
Don’t Want to Know
https://www.youtube.com/watch?v=NIqQ01RduIw
Couldn’t Love You More
https://www.youtube.com/watch?v=ra_uv0uIY-g
One Day Without You
https://www.youtube.com/watch?v=beh7g6Iz4Vg
He could be a difficult artist, and this song Big Muff is a rebuke to his A&R executive, Muff Winwood, who wanted to push him in a more commercial direction. This version gives an example of his guitar playing through an Echoplex repeater.
https://www.youtube.com/watch?v=btRv4MnPOBE
John was a favorite of many prominent musicians, but little known on this side of the Atlantic.
Two things: 1. I’ve always loved that David Bromberg version (thanks Johann!) and story he tells, “Jerry Jeff wasn’t there [in the drunk tank] on a research project” is great. 2. I was living in South Tacoma in the late 1970s when Jerry Jeff played in Seattle. Unfortunately, I missed the show, but I remember there was a story in the papers the next day or so about his bus being pulled over on I-5 at 3am or so “going southbound in the northbound lane.”
Ok. It bugged me so much I had to research it, and see if my memory was off or not.
For those of you Neo-politans, i.e., denizens of and visitors to Neopolis, who self-identified as fans of early and mid-period Sammy Davis Junior: The version I mentioned in affirming – with qualifications – an SDJ performance mined from the eolithic age [that’s 3 ages earlier than the Neo-lithic] of broadcast television.
Much as I remember it. Better in some ways as there are no harps of tinkling crap, and some kind of uptempo Rumba beat added.
Or maybe not, since I don’t actually and really know what a Rumba is; and just pulled the term out of some memory hole from the early sixties, and those dance and party albums my folks had.
Sammy Davis Junior before most of us were born – If not necessarily by a whole lot of years – singing “Hey There”
https://www.youtube.com/watch?v=Grntwrl4rrY
And Happy Easter … again.
Harry Nillson did a poignant version. My personal favorite.
https://youtu.be/mrQzAAxICVo
DNW:
I saw Sammy Davis Jr. on Broadway in the 1964 musical “Golden Boy” – a musical redo of the Odets play. I remember him as being very good in it.
DNW and Rufus T. Firefly:
I’m with you on this song and almost all of the musicians featured. Just not for me. Actively dislike. Not for me.
I accept that the music which is important to me is a minority taste here and in the universe and this is all right.
For me, for most songs, it is a certain lyric and for this one it is the dog. I lost my 15-year-old Weimaraner, Higgins, last September. In his youth, he was a magnificent animal who loved people, particularly small children. He loved going to street fairs for all the attention he was paid. I spent more time in the company of that dog than any other living thing.
As I have mentioned before, I worked at home for 10 years and I got him for company after my previous dog passed unexpectedly in her sleep. I can barely think of her without tearing up and I knew years ago that when Higgins passed “after 20 years he still grieves” would be true for me.
The saddest lyric that comes to mind for me is from Iris DeMent:
Like the flowers, I am fading
Into my setting sun
Brother and sister passed before me
My mama and daddy, they’ve long since gone
Decades ago I regarded the Nitty Gritty Dirt Band version as the best; listened to Sammy Davis Jr version and thought it was awful. Then…decades later, as my tastes changed, I began to appreciate the Sammy Davis Jr version. It is now my favorite; the hesitations and pauses are sheer genius to me (speaking as someone who cannot carry a tune in a bucket). The others are good but Sammy Davis Jr is the best in my opinion.
An example is Ed Sheeran singing with Andrea Bocelli singing “Perfect Symphony”; Ed is good, Andrea is great.
I remember liking the song back in the day, but not whose version I was listening to (maybe more than one). I’ll play through them tomorrow and see if I can figure it out.
On the name change, it’s not an unusual thing for musicians and other entertainment figures to do, and I often don’t see any reasons for it, but obviously they do.
Wikipedia: “Walker was born Ronald Clyde Crosby in Oneonta, New York, on March 16, 1942. … He first played under the stage name of Jerry Ferris, then Jeff Walker, before amalgamating them into Jerry Jeff Walker and legally changing his name to that in the late 1960s.”
That was in New Orleans, according to his obituary.
His maternal grandparents were musicians in New York, and maybe he wanted to get some distance from them (although they were not named Crosby), or possibly was concerned about getting “confused” with Bing Crosby.
“His father, Mel, worked as a sports referee and bartender; his mother, Alma (Conrow), was a housewife. His maternal grandparents played for square dances in the Oneonta area – his grandmother, Jessie Conroe, playing piano, while his grandfather played fiddle. During the late 1950s, Crosby was a member of a local Oneonta teen band called The Tones.”
Or maybe this had some residual effects.
“After high school, Crosby joined the National Guard, but his thirst for adventure led him to go AWOL and he was eventually discharged.”
Or maybe he just liked the way Jerry Jeff Walker sounded. Clyde was still a popular name back then (I had an uncle), but not too “cool” or “groovy” on the band beat.
https://jerryjeff.com/obituary
First heard this song on WBAI NYC. Jerry Jeff played it live with David Bromberg. It hit me hard in the heart on hearing it. Bromberg played a lead break for the ages, and fortunately I found it on YT. At song’s end, Bob Fass, the program’s host just said “that was beautiful.” Thought so too.
Of all the people who recorded this song, Sammy Davis, Jr IS Mr Bojangles.
I grew up in a carnival in the 40’s. My dad would set up the Ferris wheel and run it, he would also box three rounds where the rube paid $.50 to get his nose bloody in hopes of winning $5. My mom was the floating lady. One uncle set up and ran the merry go round. Another uncle was an announcer and ticket seller. My uncle, the ticket seller was an amazing guy but a bit of a drunk. When he drank you would swear he was the guy in the song. He could dance, sing a little, talk your ear off, laugh and tell jokes and played a lot of pranks. But after hours he would perform for the crew or who ever was around. Couple of the carnies played guitar and one of the performers played a mandolin. Good times, good people, good memories.
OneGuy:
Sounds like there’s memoir there. Or a song?
That is fascinating, OneGuy. A world from long ago.
Well, looks like I have many youtube videos to check out later! Thanks to all for the various info and opinions.
I don’t have a favorite version of this tune, I guess. Maybe I will after watching all the videos 😉
My favorite Jerry Jeff song (among several I like) is “The Pickup Truck Song” — but only available on youtube in a live version, it seems.
After he passed a few months ago I posted it on my blog in tribute Jerry Jeff Walker “Pickup Truck Song”
I am Spartacus:
Thank you for the Dave Bromberg version.
Sublime.
“The dog up and died…” Mine did last November. Got another in February. Both were rescue dogs.
Speaking of David Bromberg, I watched a documentary about him on Amazon the other day and learned that he took guitar lessons from Rev. Gary Davis in the early 60s, and learned vocal phrasing from him at the same time.
You can hear it in Bromberg’s phrasing, a definite rhythmic sense of timing and dynamics that a lot of white singers are sadly lacking.
Davis is a legendary acoustic blues guitar player and singer, for those who don’t know the name. Here’s a sample video https://youtu.be/972Dx71AtFA
Every version of BOJANGLES presented here was a gem.
I think my tolerance for what many people find maudlin or corny or sentimental must be quite high. I’m not going to argue with those who dislike the song, as musical taste is both deeply personal and entirely resistant to argument — but as long as a song isn’t false, I’ll respond, and I, personally, have never found “Mr. Bojangles” to be false. My favorite version of this song, by far, is the one played on the piano and sung by Mr Whatsit – but maybe I just have a weakness for musicians. Well, certainly I do, as almost 40 years of marriage will attest. My second favorite version is the one by Jerry Jeff Walker — but I don’t dislike the others and am happy to explore them, along with songs that resonate with this one. I thank Neo and the commenters for the links. Wish I could post Mr Whatsit’s version — I think many of you would like it.
If I’m alone and listening to it, the Dirt Band will bring tears to my eyes. So did the Sammy Davis version; and the Dave Bromberg.
Real emotion.
All boys who ever loved their dogs, have had dogs up and die on them.
Mine was named “Boy”.
All old men, and even most middle aged men, have had their youth up and leave them. “The eyes of age”.
Maudlin. Maudlin? It DEFINES Maudlin.
Even Shirley Temple grew up and got old and died. Was easy to believe Bill Robinson was Mr. Bojangles, or somebody Black a lot like him.
https://www.youtube.com/watch?v=arkkGjDpa8E
David Bromberg has fine phrasing, great guitar especially at the end, tho a voice only a bit better than Dylan.
Sammy Davis Jr. … IS Mr. Bojangles; but then the song’s poignancy changes. Hadn’t seen him do this live, was great.
“As the smoke ran out” is actually a much much better image than “as he spoke right out”, especially before talking of life.
The Dirt Band’s mix of music, arrangement, emotion/ soul, and lyrics was fantastic.
Thanks for another fine hour of listening, thinking, remembering pleasure.
“Ronald Clyde Crosby..possibly was concerned about getting “confused” with Bing Crosby.”
Actually, I’m one generation off.
The confusion would very likely have occurred with this guy, very active in the sixties and famously part of several bands, most especially Crosby, Stills, Nash, and sometimes Young CSN(Y).
(Wikipedia)
Time for another open thread!
Maybe Neo could have Music Mondays, Jello Tuesdays, and Flower Fridays, just for some predictability.
Like food in Eric Carle’s book.
https://answers.yahoo.com/question/index?qid=20070208083536AAj0J0O
The pictures are delightful; however, the Definitive Version was by Captain Kangaroo and is slightly different.
“Captain Kangaroo (real name: Bob Keeshan born June 27, 1927, Lynbrook, New York, USA – died January 23, 2004, Windsor, Vermont, USA) was an American television producer and actor. He created and played the title role in the children’s television program Captain Kangaroo, which ran from 1955 to 1984.”
Hmm, is there anything significant about the year his show ended?
I date the downfall of America from the end of the simple, happy, children’s and family shows on TV.
This isn’t the Week song, but the picture reminded me of my other favorite song from his show.
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse2.mm.bing.net%2Fth%3Fid%3DOIP.3cgFzWgWcytfKDbaXCeT7AHaEK%26pid%3DApi&f=1
Singing with Mr. Green Jeans.
https://www.youtube.com/watch?v=YjZ812ASdn4
And BTW — twins separated at birth??
https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Ftse4.mm.bing.net%2Fth%3Fid%3DOIP.LFXy5cdSRu75plyMWP6TPQHaFA%26pid%3DApi&f=1
I enjoyed all the videos Neo posted, but for my favorite I’m going with the John Denver cover, mostly because I like his gentle voice. However, Nina Simone sounds like she really did know some old man just like Bojangles.
My favorite lines were always those in the first verse
“He jumped so high, jumped so high – then lightly touched down.”
This is another version Denver did, with some unusual instrumental backing, and the YouTuber added some excellent graphics of “the eyes of age.”
Here’s Henry John Deutschendorf Jr. (no one in showbiz uses their birth names).
https://www.youtube.com/watch?v=hpvNbWHZUGs
A human-interest-review from San Antonio:
https://www.mysanantonio.com/opinion/commentary/article/Humanity-is-at-the-core-of-Bojangles-12580437.php
Everyone loved this song, and most of them performed it.
(Wikipedia) Walker’s song has been recorded by many popular artists: Kristofer Åström, Chet Atkins, Hugues Aufray (French version, 1984), Harry Belafonte, Bermuda Triangle Band, David Bromberg, Garth Brooks[citation needed], Dennis Brown, George Burns, JJ Cale, David Campbell, Bobby Cole, Edwyn Collins, Jim Croce[citation needed], Jamie Cullum, King Curtis, Sammy Davis Jr., John Denver, Neil Diamond, Cornell Dupree, Bob Dylan, Glenn Yarbrough, Bobbie Gentry, Arlo Guthrie[citation needed], Tom T. Hall, John Holt, Whitney Houston, Queen Ifrica, Billy Joel[citation needed], Dave Jarvis, Elton John[citation needed], Frankie Laine, Lulu, Rod McKuen, Don McLean, MC Neat, Bebe Neuwirth, Harry Nilsson, Dolly Parton[citation needed], Johnny Paycheck, Esther Phillips, Ray Quinn, Mike Schank, Helge Schneider, Nina Simone, Corben Simpson, Todd Snider, Cat Stevens[citation needed], Jim Stafford, Jud Strunk,[7] Radka Toneff, Bradley Walsh, Robbie Williams, and Paul Winter. In 2016, Bradley Walsh recorded the song for his debut album, Chasing Dreams. Christian McBride included the song in his 2017 album Bringin’ It.[8]
Okay – I couldn’t pass by George without a listen; this was recorded in 1969, when Burns, nee Nathan Birnbaum, was about 73.
There is an amusing connection between these two singers other than Bojangles:
“In 1977, Burns made another hit film, Oh, God!, playing the omnipotent title role opposite singer John Denver as an earnest but befuddled supermarket manager, whom God picks at random to revive his message”
https://www.youtube.com/watch?v=nmsB_Fgekm0
He could have been the old man dancing in a jail cell, if the breaks in life had gone differently for him.
Say good night, Gracie.
i’ll go with Sammy. while his a bit show Lizzie, he really captures the heart of the song and expresses the emotion. I feel the dog up and dying when he sings it. the NGB while aesthetically appealing doesn’t affect me. as a matter of fact , had this been the version I first hear, I might not have paid attention to the lyrics.
Some performers like Sammy and Ella could really capture the mood of a song. Compare Ella’s version of Bewitched, Bothered and Bewildered to Barbra’s. You wouldn’t even know its a sad song in Bab’s version. she seems more fixated in showing her voice than capturing the emotions.
sometime lesser voices can do this. I think that Neil Diamonds Both Sides Now is one of the best versions, and Joani’s was better than Judy’s
Regarding the Neil Diamond video: the guitar solo Neo refers to might be the work of one Richard Bennett (sp?); Bennett eventually became a top recording sessions player and producer, as well as– years later– a regular Mark Knopfler sideman. The Neil Diamond band that Bennett joined back in the late 60s/early 70s (when Bennett was 19) was a terrific, tight, guitar-based band featuring a bunch of great players, many if not most of whom soon thereafter departed to play behind other artists, or to produce. (The original live Hot August Night album, 1972– the one with Neil Diamond all crazy-spastic on the cover– is by far the band’s and Neil Diamond’s most powerful expression from that era). And if the solo wasn’t Bennet’s, it might have been the work of one Carol Hunter (female), whom Bob Dylan (it’s been said) tried to recruit mid-seventies for Dylan’s– what was it called?– Rolling Thunder Revue concert tour (a big deal at the time). Or, the soloist might have been Neil Diamond himself; Rick Rubin, after all, all but forced Diamond to play guitar on two Rubin-produced “stripped-down” Diamond records, post-2000.
Poor Neil. He wrote many, many wonderful songs and apparently will never get the credit he deserves. Granted, by mid-seventies he’d already started way over-orchestrating many of his recordings, and getting away from his roots; but lots of critically acclaimed hippy dippy stuff that passed for genius at the time, was no better than the “Love On the Rocks” type stuff that Diamond should’ve passed on to the Sinatras and Tony Bennetts of the world.
An example of Neil Diamond getting the Rodney Dangerfield treatment: if one goes to the legions of comments on Johnny Cash’s youtube interpretation of Diamond’s Solitary Man, most the thousands of commentators, gushing in true hipster-signaling fashion over Cash’s terrific recording, seem to think that Cash himself wrote the song, or, if not Cash, Neil Young or what have you. (By the way, I dearly love Johnny Cash as well as his re-working of this song). That said, Diamond’s rendition of Solitary Man on the aforementioned 1972 Hot August Night album is both haunting and memorable, almost equal to Cash’s, which is saying a lot.
Joel:
I’ve noticed in YouTube comments that’s it’s common for people to not realize when someone is singing a self-composed song versus when the person is singing a song someone else wrote. The general tendency is to assume the singer wrote the song, which is course is often not the case.
Thanks, Neo. Keep up the good work.
By the way, here’s (a very short clip of) Jordan Peterson on Dostoyevsky/Crime and Punishment:
https://www.youtube.com/watch?v=iUgLK1-nAgI
I’ll never go off-topic again, very sorry.
joel:
A little bit of going off-topic is fine.