Bobby Bare – "Detroit City" (1963)

By day I make the cars

By night I make the bars

Between 1940 and 1960, about seven million poor whites took the “Hillbilly Highway” out of Appalachia and settled in Detroit and the other manufacturing centers of the upper Midwest.

An Appalachian family in 1940

One magazine article described the Appalachians as “clannish, proud, disorderly, [and] untamed to urban ways.”  When Detroit residents were surveyed concerning what kind of people they found most undesirable, hillbillies ranked second only to criminals.

Poor whites weren’t the only ones who left the South in the post-World War II period in pursuit of the American dream.  About five million African-Americans emigrated from the South during the forties, fifties, and sixties and moved to the Midwest and West in the hope of finding not only higher-paying jobs, but escaping “Jim Crow” segregation.

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The previous 2 or 3 lines featured “Born to Run,” a song sung by a young man who was eager to leave behind the limitations of life in his hometown and strike out for a new place where he could achieve the American dream.  He doesn’t know where that place is, but he’s sure there’s a better life for him out there somewhere. 

Today’s featured song picks up that young man’s life a few years later, when he’s beginning to think that maybe life back home wasn’t so bad after all.

Postwar Detroit may have been a place where even a poor, uneducated Southerner could make some serious do-re-mi working in a Ford or GM factory, but leaving behind your family and friends was a high price to pay for a well-paying job.  

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Bob Dylan’s 2022 book, The Philosophy of Modern Song, consists of short, impressionistic essays on 66 very different records – everything from “Mack the Knife” to “My Generation” to “Viva Las Vegas” to “Ball of Confusion” to “The Whiffenpoof Song.”

“Detroit City” was the very first of the 66 songs that Dylan wrote about in that book.  Here’s part of what he had to say about it:

In this song you’re the prodigal son.  

You went to sleep last night in Detroit City. . . . From the postcards [that you sent home], everybody assumes you’re a bigwig, that things are cool and beautiful, but they’re not, and the disgrace of failure is overwhelming.  Your life is unraveling.

You’re going to take your foolish self-love and egotism and go back to what’s familiar, back to the ones that’ll stand by you . . . You’re going back to where you can clear your life up, going back to people of understanding.  The people who know you best. 

But Dylan thinks the singer is just fooling himself if he thinks that going back to where he came from is going to make everything right again:

This is not so much the song of a dreamer, but the song of someone who is caught up in a fantasy of the way things used to be.  But the listener knows that it just doesn’t exist.  There is no mother, no dear old papa, sister, or brother.  They are all either dead or gone.  The girl he’s dreaming about got married to a divorce attorney and she has three kids.  Like thousands of others he left the farm, came to the big city to get ahead, and got lost.

Thomas Wolfe famously said “You can’t go home again.”  Dylan agrees with him.

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“Detroit City” was a top ten country hit for Bobby Bare in 1963, winning the Grammy for Best Country & Western Recording.

Country-soul artist Arthur Alexander – the only songwriter whose songs have been recorded by the Beatles, Rolling Stones, and Bob Dylan – covered “Detroit City” in 1965.  

As one reviewer noted, the message of that song – that you might come to regret your decision to leave home and head to Detroit (or wherever) in search of greener pastures – is one that black Americans could relate to every bit as much as poor Southern whites.

None of the dopes who suggested songs for the CBS Sunday Morning “Essential American Songbook” mentioned “Detroit City.”  But that record was good enough to be the first one that Bob Dylan wrote about in his book, and it’s good enough to be included in the 2 OR 3 LINES QUINTESSENTIAL AMERICAN SONGBOOK.  

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Click here to listen to Bobby Bare’s 1963 recording of “Detroit City.”

Click here to buy that recording from Amazon.

Bruce Springsteen – "Born to Run" (1975)

Someday girl, I don’t know when

We’re gonna get to that place

Where we really want to go

In 1774, the Earl of Dunmore – who had been named colonial Governor of Virginia by King George III – wrote that Americans “for ever imagine the Lands further off are still better than those upon which they are already settled.”

“If they attained Paradise,” he added, “they would move on if they heard of a better place farther west.”

Lord Dunmore

My ancestors migrated from England to Virginia not long after Lord Dunmore wrote those words.  After a few decades there, they packed up and moved to Kentucky and Tennessee – presumably in search of a better life than they were experiencing in Virginia.  

Apparently, they also found life in Kentucky and Tennessee to be somewhat lacking because after a few more decades, they decided that the grass must be greener in Missouri and Arkansas and moved there.  

I’m not sure why they didn’t keep going west until they got to California and “attained Paradise” – which would have been the smart play – but they didn’t.

Of course, the bloom is off the rose when it comes to California, and nowadays a lot of people who are living there are starting to head back east.  But back in the day, California was the place you oughta be if you wanted to live the American dream.

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“Go West, young man, go West and grow up with the country,” the newspaperman Horace Greeley famously wrote in 1865. 

When he wrote those words, westward was the way to go if you wanted a better life.  

Horace Greeley

But Greeley’s point wasn’t so much about moving in a particular direction.  It was about being brave enough to pull up stakes and move on when the life you were living wasn’t the life you wanted.

After all, the American dream is about attaining your best possible life – and if that requires getting the hell out of Dodge and looking for opportunities elsewhere, that’s what Americans do.

Including the restless young protagonist of Bruce Springsteen’s “Born to Run.”

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The 250 songs that were chosen for the CBS Sunday Morning “Essential American Songbook” include five by Bruce Springsteen.  But “Born to Run” isn’t one of them. 

You have GOT to be kidding me.  “Born to Run” is clearly Bruce Springsteen’s best record.  (If you don’t agree with me, you and I aren’t going to be friends.)  And it’s a quintessentially American record to boot.

Regular readers of my wildly popular little blog know that 2 or 3 lines is not the biggest fan of “The Boss.”  But I have to admit that Springsteen absolutely nailed it with “Born to Run” – which is one of the 13 songs I’ve chosen to include in the 2 OR 3 LINES QUINTESSENTIAL AMERICAN SONGBOOK.  

The records that I featured in the previous two posts are about roadtrips.  So is today’s featured song – sort of.  

But while “(Get Your Kicks on) Route 66” and “I’ve Been Everywhere” celebrate the joy that Americans feel when they get their motors running and head out on the highway***, the protagonist of “Born to Run” isn’t looking for adventure when he hits the road – he’s firing up his chrome-wheeled and fuel-injected chariot out of sheer desperation.

[*** – Recognize that reference to “Born to Be Wild”?  If you’re wondering why that record didn’t make the cut for my quintessential American songbook, it’s because Steppenwolf was more Canadian than American.]

Like many young men, he feels trapped in his dead-end job and his dead-end hometown.  He begs his girlfriend to “break this trap” with him.  We’ll “run ’til we drop,” he tells her.  “Baby, we’ll never go back.”   

Where exactly are they headed?  He doesn’t know, and he doesn’t particularly care.  But he’s betting on it being better than where they are now:

Someday girl, I don’t know when

We’re gonna get to that place

Where we really want to go

And we’ll walk in the sun

 

If getting to that place requires taking a chance – in other words, walking “out on the wire” – so be it.  Chasing the American dream isn’t for the faint-hearted.

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Click here to hear Bruce Springsteen’s masterpiece, “Born to Run.”

 

Click here to buy “Born to Run” from Amazon.

Hank Snow – "I've Been Everywhere" (1962)

Boston, Charleston, Dayton, Louisiana

Washington, Houston, Kingston, Texarkana

Monterey, Ferriday, Santa Fe, Tallapoosa

Glen Rock, Black Rock, Little Rock, Oskaloosa

We Americans love to jump in our cars and hit the open road.  Give us a full tank of gas, a six-pack of beer, and a big nasty redhead by our side (to paraphrase Randy Newman’s “I Love L.A.”), and we’re ready to roll!

My previous choice for the 2 OR 3 LINES QUINTESSENTIAL AMERICAN SONGBOOK was “(Get Your Kicks on) Route 66,” a classic road-trip song that gives shout-outs to a number of cities situated on that quintessential American highway.

Today’s featured song mentions dozens of other place names – including states, cities, towns, and unincorporated communities.  The singer of “I’ve Been Everywhere” claims to have visited each and every one of them – most likely while hitching rides in eighteen-wheelers (which is another very American thing to do). 

In 2017, Brett Anderson hopped on his motorcycle and took off to visit all the places listed in “I’ve Been Everywhere.”  Click here to read about his 73,000-mile journey, which took two years to complete. 

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“I’ve Been Everywhere” was written by Australian Geoff Mack, so it’s not surprising that the song’s original lyrics featured Australian place names – which are also known as “toponyms.”  

Hank Snow

Canadian-born country singer Hank Snow thought the song could be a hit in the U.S. and Canada if the Australian toponyms were changed to North American ones.  So Mack got out a North American atlas and got to work.

Snow’s recording of the revised song was a number one country hit in 1962.  It was subsequently covered by Johnny Cash, Lynn Anderson, Asleep at the Wheel, and many others – The Simpsons among them.

But I’m featuring Hank Snow’s version in part because he was an immigrant.  He moved to the United States from his native Canada in 1949 to seek his fame and fortune, becoming a naturalized American citizen several years later.  What’s more quintessentially American than an immigrant?

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Click here to listen to Hank Snow’s recording of “I’ve Been Everywhere.”

Click here to buy that recording from Amazon.   

Nat King Cole – "Route 66" (1946)

Now you go through St. Louis

Joplin, Missouri

And Oklahoma City looks mighty pretty!

Is there any more quintessentially American activity than hitting the road and heading west?  That’s why my third (and oldest) choice for the 2 OR 3 LINES QUINTESSENTIAL AMERICAN SONGBOOK is the ne plus ultra of road-trip songs.  

“(Get Your Kicks on) Route 66” was composed in 1946 by Bobby Troup, a jazz pianist, singer, and songwriter who also starred in the seventies medical drama Emergency! along with his second wife, Julie London.  (Not surprisingly, Troup played a doctor and London played a nurse on that show.  Today, he’d probably be the nurse and she’d be the doctor.)

Julie London and Bobby Troup

Troup wrote the song after he and his first wife drove from his home in Pennsylvania to Los Angeles in a 1941 Buick, which used 75 quarts of oil on the ten-day trip.  

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The Troups started on the Pennsylvania Turnpike, but most of their trip was spent on Route 66, which stretched almost 2500 miles between Chicago and Santa Monica, California.  

Along the way, they toured the Meramac Caverns in Missouri (“Jesse James Hideout” was the slogan on that attraction’s numerous billboards), visited the Will Rogers Memorial in Oklahoma, drove through a snowstorm outside Amarillo, Texas, and stopped to take a look at the Hoover Dam.

Troup came up with the idea of writing a song about their trip, but it was his wife who suggested the song’s title.  (I’m not sure who came up with the “Oklahoma City looks mighty pretty” lyric.  Having visited Oklahoma City, I can tell you that they threw accuracy out the window in order to make the line rhyme.)  

Troup took the song to Nat King Cole, who had a big hit with it.  Since then, it has been recorded by Perry Como, Louis Prima, Bing Crosby, Natalie Cole, Asleep at the Wheel, Chuck Berry, the Rolling Stones, Depeche Mode, the Cramps, the Cheetah Girls, John Mayer (for the soundtrack of the movie "Cars") and many, many others.

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I grew up in Joplin, Missouri, which was smack dab on Route 66.  So I was thrilled that Joplin was one of the cities mentioned in the lyrics of “Route 66.”

From the 2010 2 or 3 lines post that featured Cole’s recording of “Route 66”:

All Gaul was divided into three parts.  And all recordings of “Route 66” can be divided into two groups: the ones that say “Joplin, Missouri” (which is part of the original composition) and those that instead say “down to Missouri” or something similar.  

One of my first Rolling Stones albums had a live version of “Route 66,” but Mick Jagger disappointed me by not saying “Joplin, Missouri” when he should have.  (You can click here to listen to it.)  

A Route 66 mural in downtown Joplin

I’m surprised by that because I would have assumed that the Stones had heard the Chuck Berry cover of the song, which does mention Joplin.

One good thing about the song rhyming “Missouri” with “St. Louis”: it promotes the correct pronunciation of my home state.  (It's “Missour-ee,” not “Missour-uh.”)

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James Fallows was the only one of the contributors to the CBS Sunday Morning “Essential American Songbook” to make “Route 66” one of his picks.

Fallows got an early start as a big smarty-pants journalist and author at Harvard, where he was the president of the student newspaper.  After going to Oxford on a Rhodes Scholarship, he became Jimmy Carter’s chief speechwriter at age 27.  He then wrote for Atlantic Monthly, the New Yorker, Vanity Fair, and many other magazines, and has authored eleven books, one of which won a National Book Award.

So it should come as no surprise that Fallows chose to ignore Sunday Morning’s instruction to nominate no more than three songs for inclusion in the “Essential American Songbook” – instead, he named no fewer than twenty songs. 

James Fallows

A few of his picks – “California Dreamin’,” “Coal Miner’s Daughter,” and “America” from West Side Story – aren’t bad.  But too many of his other choices were predictable in the extreme – e.g., “Blowin’ in the Wind,” “We Shall Overcome,” “Battle Hymn of the Republic,” and the Jimi Hendrix version of the “Star-Spangled Banner.”  (Of course, Fallows picked “This Land is Your Land” – which was the song named by more of those queried by Sunday Morning than any other.  )

“Hotel California,” “Sounds of Silence,” and the very odd “Nature Boy” are interesting songs.  But what about them is quintessentially American?

The same could be said about the jazz instrumentals (like “Take Five” and “Giant Steps”) on Fellows’s list.  Dave Brubeck and John Coltrane are great American jazz musicians, but I’m not sure that instrumental records really qualify for the “Essential American Songbook.”

And while I give Fallows kudos for choosing “Route 66,” why did he pick the John Pizzarelli Trio’s cover of the song instead of the Nat King Cole original or the Chuck Berry cover?   (If Fallows wanted a super-swingy jazz version of “Route 66,” he could have chosen Bobby Troup’s.) 

Click here to listen to Nat King Cole’s cover of “Route 66.”

Click here to buy that recording from Amazon.