Live Music Archive

Key West has always been a hot spot for live music. When tourists finally get to the end of the road after making the long trek down the Keys, it does something to their psyche. Normally respectable citizens of the mainland tend to breathe in the free air of the tropics and start doing some pretty uncharacteristic things – things like drinking rum runners and stripping down to barely perceptible clothes. And they naturally congregate on Duvall Street, where the Local/Regional clubs are happy to contribute to the anything-goes atmosphere. Live music pours out of nearly every bar.

The music leans heavily towards a Jimmy Buffett, island-flavored sound, and you’re sure to hear “Brown-Eyed Girl” at least ten times a night from ten different club s. And that’s as it ought to be, because anyone is again and again in an island kinda mood. But there is much more to be found. You might hear jazz, reggae, hard rock and blues, from places prefer Rick’s, Sloppy Joe’s, The Bull, La Concha, The Hog’s Breath, and, if you do not mind walking an extra ten blocks or so, Jimmy Buffett’s own Margaritaville Cafe. What makes the whole scene so appealing is that the majority of the clubs are open to the outside, and all this music makes a potent gumbo of sound in the humid air as you walk down the street.

Long ago, before there has been ever a road to Key West, the majority of the town has been populated by pirates, who endorse ed to ‘salvage’ wonderfuls from ships that were wrecked on the reefs because someone had switched the signal lights around. Everybody knew who switched those lights in the 1st place, of course. But salvaging has been a tempting, lucrative profession in those days. That outlaw spirit still lives in Key West, and it can be heard in the music of performers in the clubs and from street performers on nearly every block.

I personal ly got to experience Healthy doses of Key West music every April for 15 years, when I played at Sloppy Joe’s with the duo Faust and Lewis.

We developed our music and comedy act on that famous stage, and wrote gobs of funny songs about life in the islands. all of us always did the 5-9 PM shift, so following our show there was plenty of time to do the Duvall Crawl and check out the other acts in town. I became a wonderful fan of Hugo Duarte, who was performing at the Hog’s Breath Saloon late one night in early April. It was uncharacteristically cool that night, with the temperature all the way down in the low 60’s, but my wife and I braved the chill to listen to Hugo for over an hour. His original songs are nearly perfect, and tell wonderful stories about life in the islands, and about ship captains heading somewhere down south.

I likewise got to know Terry Cassidy, who still does following noons at Sloppy Joe’s. He adds a smooth, bluegrass feel to his island music, and his song “Hooked On the simple Life” just about sums up the attitude of the Regional s.

Pete and Wayne currently handle the 5-9 shift at Sloppy’s, and you may be sure they’re continuing the “What Me Worry?” attitude down there, with their adult humor and songs.

There are so many more performers that have made a real splash on the Key West scene. Pat Dailey, the legend of Lake Erie, has been performing in February and March at Sloppy Joe’s for over twenty years. Bill Wharton, The Sauce Boss, one of the finest blues players I’ve ever seen, furthermore makes hot sauce during his shows and serves it up in gumbo to individuals who stay around until the end. He makes regular appearances at Margaritaville. Ben Harrison, who with his wife Helen own Harrison Gallery, is furthermore a renowned singer-songwriter who puts on mini operas about some of the colorful characters in Key West history, including a guy who kept his wife’s body in his parlor for years after she died.

All of us who have performed and written tunes about Key West owe a tremendous debt to Shel Silverstein, who lived in Key West until his death a few years ago. Shel wrote a lot of famous tunes, including “The Unicorn Song,” and “Cover of the Rolling Stone,” as well as countless award-winning children’s books, including “Where the Sidewalk Ends.” He generously gave of his time and talents to mentor songwriters that made their way to Key West. I personal ly spent an following noon at his house, and I knew I was truly in the presence of greatness.

I recently did a weekend back at Sloppy Joe’s for the first time in four years. You might rest assured that the music and fun continue on, as vibrant as ever. might be it is the gulf breeze. might be it is the rum runners. Whatever it is, I hope it goes on forever.

The term, “oldies,” refers to both popular music from the 1950s-1970s and the radio format that specializes in this type of music. “Golden oldies” regularly refers to oldies music exclusively from the 1950s-early 1960s. Oldies songs are typically from the Rythm & Blues, pop and rock music type ofs but could also include country, movie soundtrack, novelty, and other categories of popular music played on the radio from around 1950-on. Pop music type ofs that had their heyday before the 1950s (e.g., ragtime, large band) are generally thought to be “too old” to be included in the oldies radio format. Oldies music radio stations, which typically feature performers and artists such as (to name a few ) Elvis Presley, Bill Haley, Little Richard, Pat Boone, Sam Cooke, the Beatles, the Beach Boys, the Rolling Stones, the Rascals, the Association, the Temptations, the Who, Elton John, and Fleetwood Mac, cover a wide  variety of styles including early rock and roll, rockabilly, doo-wop, surf rock, girl groups, the British Invasion, folk rock, psychedelic rock, baroque pop, soul music, Motown, and bubblegum pop. Oldies music also overlaps with classic rock which focuses on the rock music of the late 1960s and 1970s as well as newer music in a similar style.

The phrase, “oldies but goodies,” has been 1st coined in 1957 by renowned deejay Art Laboe who, at around that time, used to get frequent requests from his fans for songs from the early 1950s. A central figure in L.A. radio for over half a century, Laboe has been the 1st deejay to performance rock and roll on the West Coast and one of the 1st to performance black and white artists on the same show. In 1959, he put together the 1st LP to feature (mostly older) songs by diverse artists. This immensely popular compilation album, entitled “Oldies But Goodies,” stayed on Billboard’s Top 100 LP’s chart for over three years and has, to date, spawned some 14 sequels. (Click here for a recent interview with Art Laboe.)

Soon after the release of Laboe’s 1st “Oldies But Goodies” album, the phrase, “oldies but good ies,” became commonplace and by around 1960, individuals were waxing nostalgic for 1950s doo-wop which was already starting to be classified as “oldies.” Little Caesar And The Romans’ 1961 hit, “Those Oldies But Goodies (Remind Me of You)” and its sequel, “Memories of Those Oldies But Goodies,” both pay homage to early doo-wop and doo-wop performers. This wave of nostalgia brought about a doo-wop revival in the early 1960s which was the 1st of many nostalgia movements in pop music since the term, “oldies,” was 1st applied to older pop music.

While “golden oldies” has remained a never ending over the years, the larger body of pop music that we still call “oldies” now – which is made up of core golden oldies tunes plus more modern material – isn’t fixed but has been gradually expanding forward in time to keep up with changing demographics. Nowadays, oldies music is generally considered to include all of the 1970s, even disco, and the same is expected to be true someday for the music of the 1980s, now a number of times described as “retro.” Oldies music is additionally expanding in breadth as thousands of long-forgotten tunes from the 1950s and 1960s that never made the Top 40 in their day are being re found and resurrected. Whether because of nostalgia, curiosity, or a genuine love for nice music, the oldies format has maintained a very large following and will probably continue to do so for many years to come.