9
The same goes for
Driver Go Slow
, easily the best track on the album. Amurderer who has
committed a crime of passion sits shackled to a prison transport, relentlessly approaching
its destination after three days of travel. Fragmentary snatches of memory remind him of
what hehas done, whilepanic, guilt, and remorsequietly assail him. The title/refrain is self-
explanatory. The arrangement is dramatic, without ever having to raise its voice. Minimal,
yet distinctly underscored drumbeats fill the song with an invincible feeling of resignation.
The tightly controlled, restrained harmonywhich comes in on the last refrain literally grabs
a hold of one’s heart. The bus we are riding on is truly filled with speechless despair.
It was a very special album, yet no one bought it. Still, the record company actually made
an attempt to follow it up.
“We were booked into a larger studio with amore renowned producer, but never managed
to finish any LP before the company’s accountants pulled the rug out from underneath our
feet”.
Seven or eight numbers were recorded, co-produced by Glen Kolotkin and the band. In
addition to
LittleGeorgie Baker
and
Tomorrow Just Might Change
, which both subsequently
ended up as a single, Louie remembers a first version of
We Don’t Have To Change
and the
instrumental number
Out Of Jail
(in the session files named
Stevie’s Tune
).
Little Georgie Baker
is one of those songs just screaming out to be a hit - an upbeat,
incredibly exciting melody, a refrain which almost sings itself, and on top of it all, a lift-off
provided by a background choir just pleading for one’s participation. Was it perhaps the
slightly cryptic text about an unhappy love affair? Whatever the case, it was not a hit.
And there they were, without a recording contract.
Around that time, Sahm was signed to Atlantic by Jerry Wexler, who for many years had
admired the multifaceted Texas musician. Doug drewwith him Ortega and his Lovers into
the deal. And Atlantic threw money around.
