Billy Joel – You May Be Right

You May Be Right was released on the Glass Houses album in 1980. I liked this song…it was more of a rock song from Joel.

Glass Houses was more of a rock album than his previous albums. He did that on purpose because he wanted something different than his previous albums The Stranger and 52 Street.

The album peaked at #1 in the Billboard 100, #1 in Canada, #9 in the UK and #6 in New Zealand.

This is the opening track to Billy Joel’s album Glass Houses. Right before the song, there is the sound of shattered glass, to match the cover picture of Joel throwing a rock into the window of an all-glass house…it was a parody of the saying “People who live in glass houses shouldn’t throw stones.” This was Joel’s statement to his critics.

Stephen Thomas Erlewine of AllMusic wrote: “It may not be punk — then again, it may be his concept of punk — but Glass Houses is the closest Joel ever got to a pure rock album.”

You May Be Right was the first single released from Glass Houses…The song peaked at #7 in the Billboard 100, #6 in Canada, and #23 in New Zealand in 1980.

Billy Joel: “I could have come out with a record that would have guaranteed a certain amount of sales – just by repeating either The Stranger album or the 52nd Street album, by doing something similar,” Frankly, I would have been bored to do that. I would have been a dead duck, career-wise. You have to discard an audience to pick up another one.”

“It’s a definite temptation to repeat a successful formula. But I have never done the same thing twice. I don’t care what anybody says,”  “After Stranger, I could have done Son of Stranger, but I’ve never done that. To keep me interested, there always has to be something new, something different.”

From Songfacts

In this song, Joel takes the persona of a guy who is told he is reckless. Joel confirms the suspicion, admitting that he is crazy and extolling the virtues of a more carefree, but dangerous existence.

This was used as the theme song to the TV show Dave’s World, which ran from 1993-1997 on CBS. Like Joel’s “My Life,” Billy didn’t sing the version used on the show. The version of “You May Be Right” on Dave’s World was sung by Southside Johnny.

The Chipmunks covered this song on their 1980 album Chipmunk Punk. Joel says he thought it was great.

Joel tends to prefer his more obscure songs over his hits, but “You May Be Right” is one of his favorites. Speaking with Stephen Colbert in 2017, he listed it as one of his Top 5.

In The Office episode “WUPHF.com” (2010), Michael sings this after Pam tells him Ryan is taking advantage of him. It was also used on Glee (“Movin’ Out” – 2013) and in the movies Girl Most Likely and The Edge Of Seventeen (2016).

You May Be Right

Friday night I crashed your party
Saturday I said I’m sorry
Sunday came and trashed me out again
I was only having fun
Wasn’t hurting any one
And we all enjoyed the weekend for a change

I’ve been stranded in the combat zone
I walked through Bedford Stuy alone
Even rode my motorcycle in the rain
And you told me not to drive
But I made it home alive
So you said that only proves that I’m insane

You may be right
I may be crazy
But it just may be a lunatic you’re looking for
Turn out the light
Don’t try to save me
You may be wrong for all I know
But you may be right

Remember how I found you there
Alone in your electric chair
I told you dirty jokes until you smiled
You were lonely for a man
I said take me as I am
‘Cause you might enjoy some madness for a while

Now think of all the years you tried to
Find someone to satisfy you
I might be as crazy as you say
If I’m crazy then it’s true
That it’s all because of you
And you wouldn’t want me any other way

You may be right
I may be crazy
But it just may be a lunatic you’re looking for
It’s too late to fight
It’s too late to change me
You may be wrong for all I know
But you may be right

You may be right
I may be crazy
But it just may be a lunatic you’re looking for
Turn out the light
Don’t try to save me
You may be wrong for all I know
You may be right
You may be wrong but you may be right
You may be wrong but you may be right
You may be wrong but you may be right
You may be wrong but you may be right
You may be wrong but you may be right
You may be wrong but you may be right
You may be wrong but you may be right
You may be wrong but you may be right
You may be wrong but you may be right

AC/DC – Thunderstruck

One of the best intros ever! We tried a little tenderness with Otis Redding this morning so now lets all insert some ear plugs and turn it up.

Brothers and  guitarists Angus and Malcolm Young wrote this song. This led off The Razors Edge album, but in America it wasn’t sold as a single, which helped propel the album sales. The more radio-friendly Moneytalks was the US chart hit from the album, peaking at #23 in the Billboard 100.

Thunderstuck peaked at #13 in the UK and #20 in Canada in 1990. The Razors Edge peaked at #2 in the Billboard Album Charts, #4 in the UK, and #1 in Canada.

A side note to this song. In 2012 a couple of Iranian uranium-enrichment plants were hacked and their computers shut down but not before blasting Thunderstruck at maximum volume like you are probably doing right now or will be soon.

The album was recorded with producer Bruce Fairbairn at his Little Mountain Sound Studios in Vancouver, where he also produced Bon Jovi’s Slippery When Wet and the Aerosmith albums Permanent Vacation and Pump. It was the group’s first time working with Fairbairn.

Angus Young: “It started off from a little trick that I had on guitar. I played it to Mal and he said, ‘Oh I’ve got a good rhythm idea that will sit well in the back.’ We built the song up from that. We fiddled about with it for a few months before everything fell into place.

Lyrically, it was really just a case of finding a good title, something along the lines of ‘Powerage’ or ‘Highway To Hell.’ We came up with this thunder thing and it seemed to have a good ring to it. AC/DC = Power. That’s the basic idea.”

From Songfacts

According to The Story of AC/DC: Let There Be Rock, Angus Young created the distinctive opening guitar part by playing with all the strings taped up, except the B. It was a studio trick he learned from his older brother George Young, who produced some of AC/DC’s albums and was in a band called The Easybeats.

This song marked a return to form for AC/DC, whose previous three albums didn’t generate any blockbusters. It was the song that set the tone for the album, a truly thunderous track that electrified the crowd as the opening number on The Razors Edge tour. The apostrophe-free album title gels with the song: Australians call the dark clouds of an approaching storm “the razor’s edge.”

AC/DC shook Iran all night long when a computer virus infected nuclear establishments there in July 2012. One of the effects of the worm was that the machines were forced to play this track at full volume during the small hours.

David Mallet, who directed the video for “You Shook Me All Night Long,” returned to work with the band on this clip. Mallet wanted to create the “ultimate performance video,” showcasing AC/DC’s live energy. It was shot at Brixton Academy in London with some innovative camera work. Mallet had Angus do his duckwalk over plexiglass to get footage from underneath, and small cameras were placed on the guitar and on one of the drumsticks.

The Croatian cello duo 2Cellos released an instrumental version of the song in February 2014. The pair are best known for their cover of “Smooth Criminal,” which was performed on the Michael Jackson-themed episode of Glee.

The song was featured in the film Varsity Blues during one of the games when the team is hungover from the night before. AC/DC charged a massive $500,000 for its use, the biggest deal that music supervisor Thomas Golubic (Breaking Bad, The Walking Dead) has ever brokered. “I remember being absolutely horrified when I heard that number,” Golubic recalled to Variety. “And we spent a lot of time coming up with what we thought were great alternates, but there was going to be no budget on that, and they had money so they paid for it.”

In 2004, an Australian movie called Thunderstruck was released. It’s a comedy about five guys who go to an AC/DC show in 1991 and agree to bury the first one who dies next to Bon Scott. 

In Australia, this was used in commercials for the Holden Commodore SS Ute. The commercials were about an Australian Built Ute making a storm in the outback. >

Thunderstruck

Thunder, thunder, thunder, thunder
I was caught
In the middle of a railroad track
I looked round
And I knew there was no turning back
My mind raced
And I thought what could I do
And I knew
There was no help, no help from you
Sound of the drums
Beating in my heart
The thunder of guns
Tore me apart
You’ve been
Thunderstruck

Rode down the highway
Broke the limit, we hit the town
Went through to Texas, yeah Texas, and we had some fun
We met some girls
Some dancers who gave a good time
Broke all the rules
Played all the fools
Yeah yeah they, they, they blew our minds
And I was shaking at the knees
Could I come again please
Yeah them ladies were too kind
You’ve been
Thunderstruck

I was shaking at the knees
Could I come again please

Thunderstruck, Thunderstruck, Thunderstruck, Thunderstruck
It’s alright, we’re doin’ fine
It’s alright, we’re doin’ fine, fine, fine
Thunderstruck, yeah, yeah, yeah
Thunderstruck, Thunderstruck
Thunderstruck, baby, baby
Thunderstruck, you’ve been Thunderstruck
Thunderstruck, Thunderstruck
You’ve been Thunderstruck

The Festival Express

Transcontinental Pop Festival… better known as the Festival Express. Great idea on paper… rounding up musicians in 1970 and placing them on a train going across Canada and stopping along the way to play festivals. What could go wrong? Actually, I would have loved to have been on that train.

The lineup:

The Band

The Grateful Dead

Janis Joplin

Buddy Guy Blues Band

The Fly Burrito Brothers

Sha Na Na

Delaney & Bonnie & Friends

There were artists that were not in the film like Traffic, Ten Years After, Tom Rush, Ian & Sylvia, Mountain and more.

A DVD was released of this in 2004. All these musicians on a train full of liquor and an assortment of drugs… liquor was the popular choice among the musicians on this ride. The tour was to have events in Montreal, Toronto, Winnipeg, Calgary, and Vancouver. The Montreal event was canceled as was Vancouver. In Toronto, protesters were saying the festival promoters were price gouging so The Grateful Dead played a free concert in a park nearby to ease tensions with the protesters.

There are some very good performances on the film. My favorite is Buddy Guy and Janis Joplin’s performance. I also like the Dead’s “Don’t Ease Me In” with Pigpen on blues harp. The festival lost money and the film was thought lost for over 30 years. Janis would be gone a few months after this but her performance of Cry Baby is electrifying.

The train was where the fun was at. They actually stopped at a liquor store and bought out the complete store…including the giant display bottles. The Dead’s crew even dosed some of the liquor…and cake with LSD as you will see below… on board. When watching the film you can see the performers are having a ball jamming with each other because they didn’t get a lot of chances to do that on the road.

Bill Kreutzmann (drummer for the Dead) from his book “Deal”

We celebrated Janis Joplin’s birthday at the last stop the traditional way: with birthday cake. In keeping with our own kind of tradition, somebody—within our ranks, I would imagine—had secretly infused the cake with a decent amount of LSD. So it quickly became an electric birthday celebration. Allegedly, some generous pieces of that birthday cake made it to the hands and mouths of the local police who were working the show. “Let them eat cake!” (To be fair, I didn’t have anything to do with that … I was just another cake-eating birthday reveler, that night.)
And that was it for the Festival Express. It was a wonderful time and I think what really made it great was the level of interaction and camaraderie among the musicians, day and night, as we were all trapped on this train careening across the great north. It probably helped that we were all trashed the entire time. Whiskey was in the conductor’s seat on that ride.

I would recommend getting the DVD of this event. It’s a great time capsule of that time in music and culture.

Otis Redding – Try A Little Tenderness

Lets mellow out this morning and try a little tenderness by Otis Redding. I first heard this song by Three Dog Night who I like a lot but I have to go with Otis.

This song is a standard recorded by many artists, including crooners Frank Sinatra, Mel Torme and Bing Crosby. It was written by Jimmy Campbell, Reg Connelly and Harry Woods, and first published in 1933.

Otis recorded this song for Stax Records in Memphis. The  house band was Booker T. & the M.G.’s and they backed him up on this recording…

Redding did not want to record this song, but Stax Records executives and his friends wore him down with a constant barrage of requests.

When he finally recorded it, he did it with a pleading vocal that he was sure would not be released. The ploy didn’t work. Redding’s version of “Try a Little Tenderness” became his biggest selling record released before his death.

The song peaked at #25 in the Billboard 100 and #46 in the UK in 1966.

From Songfacts

Campbell and Connelly were a British songwriting team who often collaborated with a third composer, which in this case was the American Harry Woods.

In 1962, Aretha Franklin recorded the song, charting at #100 in the US at a time when most of her singles failed to get much higher. Her arrangement was similar to that of the previous crooner versions and her vocal relatively restrained; it was Otis Redding who did the definitive soulful version of the song, complete with horns, organ, and an uninhibited vocal that builds in intensity as the song progresses.

Sam Cooke’s version of this was a big influence on Redding. It was never released as a single but was one of high points of his live “Sam Cooke at the Copa” LP (1964) as part of a medley that started with “Tenderness” (followed by “Sentimental Reasons” and “You Send Me”). Redding idolized the man, particularly after Cooke’s death, but he did not want to record “Tenderness.” He caved in after tremendous pressure from his friends and (according to one source) a family member – but he didn’t want to record it like Cooke (in fact, he considered his version a “joke” to quiet the people who wanted him to record it). The rest is history.

Three Dog Night recorded this as a tribute to the late Otis Redding. Their version became their first Top 40 hit in 1968. Their first Top 10 hit, “One,” written and originally recorded by Harry Nilsson, soon followed.

For Three Dog Night, it was a staple of their live shows throughout the 1980s. They would often stretch the song to the 15-20 minute mark.

In the movie Bull Durham, erratic young pitcher Nuke LaLoosh, played by Tim Robbins, sings this on the team bus but butchers the lyrics, much to the dismay of Crash Davis, the veteran catcher played by Kevin Costner. Instead of “Young girls they do get wearied” he sang “Young girls they do get wooly.”

This was one of two songs Aretha Franklin performed when she made her TV debut on American Bandstand August 2, 1962. A cover by her peaked at #100 on the Hot 100 the same year.

Jon Cryer’s character Duckie lip-synchs this to Molly Ringwald’s character Andie in the 1986 movie Pretty In Pink. The film’s director Howard Deutch chose the song because he wanted something that would express the heartbreak Duckie feels as he tries to make inroads with Andie.

In 2015, Cryer re-created the scene on The Late Late Show with James Corden.

This was covered by Florence and the Machine for their 2012, MTV Unplugged – A Live Album. Speaking with Nicole Alvarez of LA radio station 106.7 KROQ, Florence Welch said it was hard choosing an acoustic cover for the show. “I almost didn’t do ‘Try A Little Tenderness’ because it’s my favorite song and I thought, ‘I can’t do this,'” she admitted. “I didn’t know how to do it the same, but I just thought, ‘I’ve got to slow it down.'”

The Otis Redding version was used in 2015 commercials for McDonald’s Chicken Select Tenders. Because, you know, “tender” is in the song title.

Try A Little Tenderness

Ooh, she may be weary
And young girls, they do get wearied
Wearing that same old shaggy dress, yeah
But when she gets weary
Try a little tenderness, yeah, yeah

You know she’s waiting
Just anticipating
The thing that she’ll never, never, never, never possess, yeah, yeah
But while she’s there waiting, and without them
Try a little tenderness
That’s all you gotta do

It’s not just sentimental, no, no, no
She has her grief and care, yeah yeah yeah
But the soft words, they are spoke so gentle, yeah

It makes it easier
Easier to bear, yeah

You won’t regret it, no no
Young girls, they don’t forget it
Love is their whole happiness, yeah

But it’s all so easy
All you got to do is try, try a little, tenderness yeah
All you’ve gotta do is, man
Hold her where you want her
Squeeze her, don’t tease her
Never leave her, get to her
Just try, try a little tenderness, y-y-yeah
You got to love and kiss her, man
Got to, got to, got to, don’t lose her, no, no
You got to love her, tease her, don’t you leave her
Got to try, now, now, now
Try, tru a little tenderness
Yeah, watch the groove now, you gotta know what to do, man

Procol Harum – Whiskey Train

I was lucky to see Robin Trower in Clarksville Tennessee in the early nineties. In a three week span I went to three concerts…Santana, Eric Clapton, and I wrapped it up Robin Trower in a club called the Cannery…three really good guitar players in that three week span.

This song was released in 1970 and the opposite of their best-known hit “A Whiter Shade Of Pale.” The band had some personnel changes by this time. This wasn’t a big hit or a hit at all but I’ve always loved it as a rock and roll song. The riff is a classic guitar riff.

The song was on the album Home released in 1970. The album peaked at #34 in the Billboard Album Charts and #49 in the UK.

Whiskey Train was written by guitarist Robin Trower and Keith Reid. Great rock and roll song. Leslie West and Blackfoot also covered this song but I’ll stick with the original.

Whiskey Train

Ain’t gonna ride that whisky train
Ain’t gonna burn up no more flame
Throw away my bottle down the drain
Ain’t gonna ride that whisky train
To think that I could be so wrong
To be so sick and still go on
The way I drink it’s been too long
Don’t see much point in carrying on
I’m gonna lose these drinking blues
I’m gonna find a girl to make me choose
Between lovin’ her and drinking booze
I’m gonna lose these drinking blues
Ain’t gonna ride that whisky train
I’m tired of burning in the flame
Throw away my bottle down the drain
Ain’t gonna ride that whisky train

Beatles – Back In The U.S.S.R.

I always liked this rocking song by the Beatles. They threw a little Beach Boy feel in it also.

The song was written during the band’s visit to Rishikesh, India is early 1968, the intention being to study and practice Transcendental Meditation with the Maharishi.

In early 1968, the British government launched the “I’m Backing Britain” campaign to rally enthusiasm and boost their economy. McCartney was inspired by this and Chuck Berry’s Back In The U.S.A. The working title was I’m Backing the UK.

This song was on the double White Album released in 1968. The album peaked at #1 in the Billboard Album Chart, Canada, and the UK. There was tension between the members on this album.

Following an argument with McCartney over the drum part for this song, Ringo walked out on The Beatles. He flew to Sardinia for a holiday to consider his future. While there he received a telegram from his bandmates saying, ‘You’re the best rock ‘n’ roll drummer in the world. Come on home, we love you.’ On his return, he found his drum kit covered with flowers. A banner above read, ‘Welcome Back.’

Paul did end up playing drums on the track. It is credited to Lennon/McCartney but it is a McCartney written song.

This song caused some controversy with conservative America, because it came out during Vietnam and the Cold War and it appeared to be celebrating the enemy. The John Birch Society accused The Beatles with promoting communism.

Paul McCartney: “Chuck Berry once did a song called ‘Back In The U.S.A,’ which is very American, very Chuck Berry, you know. He was ‘serving in the army and, when I get back home, I’m gonna kiss the ground,’ you know, ‘can’t wait to get back to the States.’ It’s very much an American thing, I always thought. So, this one, ‘Back In The U.S.S.R.’ was about, in my mind, a spy who has been in America for a long, long time. Some fellow who’s been in America for a long time and he’s picked up and he’s very American, but he gets back to the U.S.S.R., and he’s, sort of, saying ‘Leave it till tomorrow, honey to disconnect the phone,’ and ‘come here, honey,’ with Russian women, and all that.”

From Songfacts

The story of this song begins in Hrishikesh, India, where The Beatles were on a retreat learning Transcendental Meditation from their guru, Maharishi Mahesh Yogi. Also on the retreat was Mike Love of The Beach Boys, who told us: “Paul (McCartney) came down to the breakfast table one morning saying, ‘Hey, Mike, listen to this.’ And he starts strumming and singing, ‘Back in the U.S.S.R.,’ the verses. And I said, ‘Well, Paul, what you ought to do is talk about the girls around Russia, Ukraine girls and then Georgia on my mind, and that kind of thing.’ Which he did.

So I think it was the fact I was there, which caused Paul to think in terms of Beach Boys, and then my suggestion for what to do on the bridge, he took that suggestion and crafted, like only Sir Paul can, a really great song.”

McCartney was impressed with the idea and used some Beach Boys’ elements in this song: Instead of “California Girls” it was “Moscow Girls.” Plus, the definitive Beach Boy “Oooeeeeoooo” in the background harmonies.

The title was inspired by Chuck Berry’s “Back In The U.S.A.” The Beach Boys had been influenced by that song and also “Sweet Little Sixteen” to come up with “California Girls” and “Surfin’ U.S.A.”

Things were tense when they were working on this album, and Ringo walked out during recording, briefly quitting the band. Paul McCartney played drums in his place.

The line “Georgia’s always on my mind” in a play on the Ray Charles song “Georgia On My Mind.” It has a double meaning, since Georgia was part of the U.S.S.R.

Elton John performed this song when he toured Russia in 1979, and he got a huge response. This was the year before Moscow hosted the Summer Olympics, which the United States boycotted. Elton told Q magazine: “The first night as an encore I did ‘Back In The U.S.S.R.’ And they went apes–t. It was like playing ‘Philadelphia Freedom’ in Philadelphia. You just noticed that the people there were as ordinary and as good as the people you’d notice anywhere else.”

Billy Joel got a similar reaction when he played the song in Moscow in 1987.

This opens with the sound of an airplane flying from left to right across the speakers. Stereo was relatively new, so this was very innovative for the time.

Paul McCartney told Mojo magazine October 2008 that the song’s middle-eight was a spoof of the Beach Boys leading up to Pet Sounds. He added: “The rest is (sings first bars of the melody line of the opening verse) more Jerry Lee (Lewis). And the title is Chuck Berry, Back In The U.S.A., and the song itself is more a take on Chuck. You’d get these soldiers back from Korea or Vietnam, wherever the hell, and Chuck was picking up on that. I thought it was a funny idea to spoof that with the most unlikely thing of way back in Siberia.”

There was a rumor in the Soviet Union that The Beatles had secretly visited the U.S.S.R. and given a private concert for the children of top Communist party members. They believed the song was written because of the concert. Actually, some fans still believe so. 

The wafer-thin actress and model Twiggy claimed that this song was written for her to sing on a tour of Russia that didn’t materialize. She and McCartney had met to discuss a film project, but it’s unlikely this song was written for her.

Paul McCartney used this as the title to an album he released only in Russia in 1989. In 2002, McCartney called his US tour the “Back In The US” tour.

In Stephen King’s 1979 novel The Dead Zone, a serial killer hums this tune as he contemplates his first murder.

Back In The U.S.S.R

Flew in from Miami Beach BOAC
Didn’t get to bed last night
On the way the paper bag was on my knee
Man, I had a dreadful flight
I’m back in the USSR
You don’t know how lucky you are, boy
Back in the USSR, yeah

Been away so long I early knew the place
Gee, it’s good to be back home
Leave it till tomorrow to unpack my case
Honey disconnect the phone
I’m back in the USSR
You don’t know how lucky you are, boy
Back in the US
Back in the US
Back in the USSR

Well the Ukraine girls really knock me out
They leave the west behind
And Moscow girls make me sing and shout
That Georgia’s always on my my my my my my my my my mind
Oh, come on
Hu hey hu, hey, ah, yeah
Yeah, yeah, yeah
I’m back in the USSR
You don’t know how lucky you are, boys
Back in the USSR

Well the Ukraine girls really knock me out
They leave the west behind
And Moscow girls make me sing and shout
That Georgia’s always on my my my my my my my my my mind

Oh, show me round your snow peaked
Mountain way down south
Take me to your daddy’s farm
Let me hear your balalaika’s ringing out
Come and keep your comrade warm
I’m back in the USSR
Hey, you don’t know how lucky you are, boy
Back in the USSR
Oh, let me tell you, honey

MOONLIGHT BROADCAST – Single Review: “Amoebas in Glass Houses”

I like to feature Power Pop on Fridays…here is one from blogger ECLECTICMUSICLOVER…It’s a great song by Moonlight Broadcast and the song is “Amoebas in Glass Houses” that I think you will like. It’s a great power pop song and an excellent writeup.

ECLECTIC MUSIC LOVER

Moonlight Broadcast is an alternative rock band hailing from beautiful Melbourne, Australia. Influenced by such greats as Crowded House, The National and Death Cab for Cutie, they write songs with memorable guitar-driven melodies and poignant lyrics about (in their own words) “the winding, bumpy road we’re all travelling on.” The band is comprised of Cameron (lead vocals), Adi (guitar), Craig (bass, backing vocals) and Ash (drums & mojo). They released their excellent debut EP A Cynic’s Guide to Dying Happy in February 2018 (you can read my review here), and after a two and a half year break, the guys are back at last with a terrific new single “Amoebas in Glass Houses“.

The song has a bouncy melody and lively mix of jangly guitars, humming bass and punchy drumbeats, creating a pleasing, upbeat vibe that contrasts with the rather depressing and brutally honest lyrics. Cameron says…

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Rolling Stones – Before They Make Me Run

A great “Keith” song on the great Stone’s album Some Girls released in 1978. Some of the lyrics make me laugh because of how honest they are. Maybe one of the best lines in Rock “I wasn’t looking too good but I was feeling real well”… It doesn’t get much more straightforward than that.

Some of the others are not so fun such as “Booze and pills and powders, you can choose your medicine, Well here’s another goodbye to another good friend.” In the world Keith was living in, it rang true. I’ve read that this line was about Keith’s good friend Gram Parsons who had died of a heroin overdose in 1973.

Richards recorded the song in five days without sleeping in March of 1978, a year after he was busted for heroin in Canada.

This and Happy are my favorite Keith Richards songs with the Stones. You Got the Silver is up there also. This is a Jagger/Richards song but Keith wrote most if not all of this one.

Great raw Rock and Roll song.

Keith Richards: “For sheer longevity – for long distance – there is no track that I know of like ‘Before They Make Me Run.’ That song, which I sang on that record, was a cry from the heart. But it burned up the personnel like no other. I was in the studio, without leaving, for five days… I had an engineer called Dave Jordan and I had another engineer, and one of them would flop under the desk and have a few hours’ kip and I’d put the other one in and keep going. We all had black eyes by the time it was finished… That’s probably the longest I’ve done. There have been others that were close – ‘Can’t Be Seen’ was one – but ‘Before They Make Me Run’ was the marathon.”

From Songfacts

This is about the rock and roll lifestyle that got Keith Richards in trouble. The song was recorded while he was out on bail after getting caught with heroin and arrested for drug trafficking in Toronto in 1977. He was found guilty of the lesser charge of heroin possession, and sentenced to probation.
Richards sang lead and did the majority of the work on this song. With Keith’s drug charges pending, Mick Jagger took a lot of control on the album, but this song was pretty much all Keith.
The original title was “Rotten Roll.”
Richard’s vocals were double-tracked to make them stand out.
A member of The Byrds, Parsons died in 1973 at age 26 after taking an overdose of alcohol and morphine. His corpse was stolen and burned in the Mojave Desert.
An engineer named Dave Jordan helped mix this song. He went on to work with groups like The Specials and The Pogues.

Before They Make Me Run

Worked the bars and sideshows along the twilight zone
Only a crowd can make you feel so alone
And it really hit home
Booze and pills and powders, you can choose your medicine
Well here’s another goodbye to another good friend

After all is said and done
Gotta move while it’s still fun
Let me walk before they make me run
After all is said and done
I gotta move, it’s still fun
I’m gonna walk before they make me run

Watched my taillights fading, there ain’t a dry eye in the house
They’re laughing and singing
Started dancing and drinking as I left town
Gonna find my way to heaven, ’cause I did my time in hell, oh yeah
I wasn’t looking too good but I was feeling real well

Oh after all is said and done
I gotta move I had my fun
Let us walk before they make us run

After all is said and done
I did alright, I had my fun
But I will walk before they’ll make me
I will walk before they’ll make me (run)
I will walk before they’ll make me (run)
I will walk before they’ll make me run

So if it’s all been said and done
I gotta move I had my fun
Let me walk before they make me run

So let me walk before they make me run
I want to walk before they’ll make me run

Teenage Head – Let’s Shake….Power Pop Friday

I remember hearing about this Canadian band but I didn’t start listening to them until recently. Deke and Dave my Canadian friends have mentioned them while following their blogs. Teenage Head was sometimes known as Canada’s answer to the Ramones.

They are from  Hamilton, Ontario and met in Hamilton Weston High school… friends Frank “Venom” Kerr and Gord Lewis formed the group in 1975 with bassist Steve Mahon (later changed his last name to Marshall) and Nick Stipinitz on drums. They took their name from a Flaming Groovies song title and quickly gained a loyal following on the Ontario club circuit for their raw energy, highlighted by Lewis’guitar work and front man Venom’s antics and natural charisma on stage.

Signing with Attic Records, Teenage Head issued their sophomore effort, Frantic City, in early 1980.

They played a show at the Ontario Place Forum, a prominent outdoor venue situated in a Toronto park. Over 15,000 people showed up but they venue wasn’t large enough to hold them. A drunken crowd tried to storm the entrances, sparking a battle with the police officers on hand…multiple injuries and arrests followed. The band woke up the next morning with their name in the papers. They lost some gigs but the publicity pushed “Frantic” up the charts and to gold status.

Teenage Head released Let’s Shake in 1980 and it made it to #88 in Canada.

Let’s Shake

OOH

Give me that opener, pass me that beer
C’mon move your ass on out of here
Well I guess you know I need some money
But you are just too fat and ugly

C’mon shake
Oop, Well let’s shake
C’mon shake
Yeah baby let’s shake

(music)

Well you can’t dance, can’t keep up the beat
Well that’s because you got size twelve feet
Well don’t make me run, well don’t make me blush
You’re just that girl I hate to touch

C’mon shake
Ooh baby let’s shake
Yeah c’mon shake
Well let’s shake

(Bop! We do the bop. Go… Push down. Woo! Yeppy. Yeppy. Yeah… Bla.)

Well every time I see you dance
Hey! Where’d you get those great big pants
Just one ear, well just one eye
Just one glance and I could die

So let’s shake
Mmm let’s shake
C’mon let’s shake
Yeah baby let’s shake

(Bop! We do the bop. I really lie. Act proud.)
(music)

Let’s shake
Let’s shake
Yow let’s shake
C’mon baby let’s shake
Let’s shake!

Bob Marley – Stir It Up

It’s hard to feel down when you hear this song. 

This song got me into Bob Marley. He wrote this song in 1967 and recorded it that year and released it as a single. It was later covered by Johnny Nash in 1972 and it peaked at #12 in the Billboard 100 for Johnny.

Bob Marley and the Wailers re-recorded it in 1973 for the “Catch the Fire” album. The Nash version was Bob’s first success outside of Jamaica.

It has been said that Bob Marley wrote this song for his wife Rita.

Bob Marley on Johnny Nash

“He’s a hard worker, but he didn’t know my music. I don’t want to put him down, but Reggae isn’t really his bag,” he said. “We knew of Johnny Nash in Jamaica before he arrived, but we didn’t love him that much: We appreciated him singing the kind of music he does – he was the first US artist to do reggae – but he isn’t really our idol. That’s Otis or James Brown or Pickett, the people who work it more hard.”

From Songfacts

Texas-born singer-songwriter Johnny Nash released his final US hit as a follow-up to his signature tune “I Can See Clearly Now.” Both singles were infused with the reggae sound he brought back from a 1967 trip to Jamaica, where he met up-and-comer Bob Marley. Not only was Marley an assistant producer on Nash’s album, but he also contributed a handful of tunes, including “Stir It Up,” a love song about stirring up desire that Marley wrote for his wife, Rita.

Nash’s version would become Marley’s first hit outside of Jamaica, but he originally recorded it with his own group, The Wailers. After Nash’s success, The Wailers recorded it again for their 1973 album, Catch a Fire. Marley’s version came to the forefront when it appeared on his greatest hits collection Legend in 1984, three years after his death.

In the UK, this was released as the first single, followed by the Nash-penned “I Can See Clearly Now.”

On this track, Nash is backed by the reggae band the Fabulous Five Inc.

A year before the album was released, Marley and Nash collaborated on the score for the Swedish film Vill sa garna tro, which cast Nash in a starring role – but things didn’t go as planned, mainly because no one could find Marley. John “Rabbit” Bundrick, Nash’s keyboardist and co-composer on the score, recalled in the liner notes for Marley’s Songs of Freedom: “I really don’t know what happened to Bob. All I do know is that his air ticket, Johnny’s guitar, and Johnny’s tape recorder all disappeared, along with Bob. Johnny never forgave him for taking his guitar. Bob disappeared as magically as he had arrived.”

Nash put his anger aside when “Stir It Up” became a hit, and invited Marley on a tour of the UK to promote the album.

Diana King covered this for the 1993 comedy Cool Runnings, about a Jamaican bobsled team competing in the Winter Olympics.

In the 2007 movie I Am Legend, Will Smith plays a Bob Marley-obsessed virologist who has survived a zombie apocalypse. When he finally meets another non-infected human, he is horrified to learn she’s never heard of Marley, so he puts on the Legend CD (note the album and movie titles), tells her it’s the best album ever made, and plays “Stir It Up.” Marley’s music is a theme throughout the film, as Smith’s character draws on it for faith. In the film, his daughter is named Marley.

“Stir It Up”

Stir it up; little darlin’, stir it up. Come on, baby.
Come on and stir it up: little darlin’, stir it up. O-oh!It’s been a long, long time, yeah!
(stir it, stir it, stir it together)
Since I got you on my mind. (ooh-ooh-ooh-ooh) Oh-oh!
Now you are here (stir it, stir it, stir it together), I said,
it’s so clear
There’s so much we could do, baby, (ooh-ooh-ooh-ooh)
Just me and you.

 

Come on and stir it up; …, little darlin’!
Stir it up; come on, baby!
Come on and stir it up, yeah!
Little darlin’, stir it up! O-oh!

I’ll push the wood (stir it, stir it, stir it together),
then I blaze ya fire;
Then I’ll satisfy your heart’s desire. (ooh-ooh-ooh-ooh)
Said, I stir it every (stir it, stir it, stir it together),
every minute:
All you got to do, baby, (ooh-ooh-ooh-ooh)
Is keep it in, eh!

(Stir it up) Oh, little darlin’,
Stir it up; …, baby!
Come on and stir it up, oh-oh-oh!
Little darlin’, stir it up! Wo-oh! Mm, now, now.

Quench me when I’m thirsty;
Come on and cool me down, baby, when I’m hot. (ooh-ooh-ooh-ooh)
Your recipe is, – darlin’ – is so tasty,
When you show and stir your pot. (ooh-ooh-ooh-ooh)

So: stir it up, oh!
Little darlin’, stir it up; wo, now!
Come on and stir it up, oh-ah!
Little darlin’, stir it up!

[Guitar solo]

Oh, little darlin’, stir it up. Come on, babe!
Come on and stir it up, wo-o-a!
Little darlin’, stir it up! Stick with me, baby!
Come on, come on and stir it up, oh-oh!
Little darlin’, stir it up. [fadeout]

Blind Faith – Can’t Find My Way Home

Blind Faith was a Supergroup made up of Eric Clapton, Steve Winwood, Ginger Baker, and Ric Grech. They released just one album… The album peaked at #1 in the Billboard Album Chart, Canada, and the UK in 1969.

It was written by Steve Winwood with acoustic guitar playing by Eric Clapton and percussion by Ginger Baker. Many artists have covered this song but I’ve never heard anyone that can match the original.

Winwood wrote this and sang lead. Many critics thought that Blind Faith sounded a lot more like Traffic than Clapton’s Cream, which is what Clapton was going for.

This song was on the “Blind Faith” album in 1969. Blind Faith was only together for this album, a debut concert in Hyde Park, a Scandinavia and USA tour and then broke up shortly afterwards.

In concert they performed Cream and Traffic songs, which delighted the crowd and annoyed Eric Clapton greatly. These audiences preferred their older material instead of the newer Blind Faith songs.

Clapton began spending more time with opener Delaney Bramlett and less time with his own band, which prompted a 21-year-old Steve Winwood to take a more driving role in the band. Eventually, Clapton left the group following their final show in Hawaii.

This song never gets old to me.

From Songfacts

Clapton played acoustic guitar on this track, which is something he rarely did. In his previous group, Cream, he played long, intense solos, something he wanted to get away from with Blind Faith.

The album was released in the UK with a cover photo of an 11-year-old girl named Mariora Goschen. The cover photo because as famous as the album itself, since it showed Goschen naked and holding a model spaceship (a different cover with a band photo was used in the US and for stores that wanted an alternative in the UK).

Bob Seidemann came up with the concept and took the photo, which represents humankind’s relationship with technology (this was when the mission to put a man on the moon was big news). The band wasn’t yet named, and when Seidemann took the photo, he called it “Blind Faith.” Clapton decided that should be the name of the band.

Clapton sometimes plays this at his concerts, with a member of his band singing. His bass player Nathan East would often sing it.

A common misconception is that Eric Clapton and Steve Winwood reunited at the Crossroads Guitar Festival, July 28, 2007, however, the first true live reunion occurred two months earlier at an event called Countryside Rocks at Highclere Castle, Hampshire, UK on May 19, 2007. Steve Winwood performed his set and Eric came on later as a guest. Together they played this song as well as “Watch Your Step,” “Presence of the Lord,” “Crossroads,” “Little Queen Of Spades,” “Had to Cry Today” and “Gimme Some Lovin’.”

The band House of Lords covered this on their 1990 album Sahara. Other artists to record it include Joe Cocker, Yvonne Elliman, Gilberto Gil and Widespread Panic.

Can’t Find My Way Home

Come down off your throne and leave your body alone
Somebody must change
You are the reason I’ve been waiting all these years
Somebody holds the key

Well, I’m near the end and I just ain’t got the time
And I’m wasted and I can’t find my way home

I can’t find my way home
But I can’t find my way home
But I can’t find my way home
But I can’t find my way home
Still I can’t find my way home

And I’ve done nothing wrong
But I can’t find my way home

Elton John – Rocket Man

Great single by Elton John released in 1972. It was off of his album Honky Château. Like Bennie and the Jets there are some words that I had no clue in what he was singing. The most commonly misheard lyric in this song is “Rocket Man, burning out his fuse up here alone.” I would mumble words through that until I caught a word somewhere down the line.

The inspiration for Bernie Taupin’s lyrics was the short story The Rocket Man, written by Ray Bradbury. The sci-fi author’s tale is told from the perspective of a child, whose astronaut father has mixed feelings at leaving his family in order to do his job. It was published as part of the anthology The Illustrated Man in 1951.

This was produced by Gus Dudgeon, who worked with David Bowie on his 1969 song “Space Oddity.” Both songs have similar subject matter. Elton practically owned the early seventies.  Elton had 9 No. 1 Hits, 7 Top 10 Hits, and 67 Songs in the Billboard 100 so far.

The song peaked at #6 in the Billboard 100, #8 in Canada, and #2 in the UK in 1972. 

From Songfacts

Space exploration was big in 1972; the song came out around the time of the Apollo 16 mission, which sent men to the moon for the fifth time.

Bradbury’s story was the basis for another song called “Rocket Man,” which was released by the folk group Pearls Before Swine (fronted by Tom Rapp) in 1970. Taupin says that song gave him the idea for his own “Rocket Man” (“It’s common knowledge that songwriters are great thieves, and this is a perfect example,” he said). In the Pearls Before Swine song, a child can no longer look at the stars after his astronaut father perishes in space.

The opening lyrics came to Bernie Taupin while he was driving near his parents’ house in Lincolnshire, England. Taupin has said that he has to write his ideas down as soon as they show up in his head, or they could disappear, so he drove though some back roads as fast as he could to get to the house where he could write down his thought: “She packed my bags last night, pre-flight. Zero hour, 9 a.m., and I’m gonna be high as a kite by then.”

From there he came up with the song about a man who is sent to live in space as part of a scientific experiment.

The song can be interpreted as a symbol of how rock stars are isolated from their friends, family and from the real world by those with power in the music industry. Some lyric analysis as part of the rock star isolation theory:

“I’m burning out his fuse up here alone” – Rocketing through space on stage.

“Higher than a kite” – Feeling outside the box called normal.

“Mars” – “The place he is when he’s high; don’t need to be raising children when you’re an addict. It’s a “cold” place, being an addict and larger than life when you want to be “Normal” and a “Rocketman” at the same time.

Around the 2:20 mark, some synthesizer comes into the mix, accentuating the space motif. Elton didn’t dabble in synths, so a studio engineer named Dave Hentschel played it. Hentschel operated an ARP 2500 synthesizer at Trident Studios in London, where producer Gus Dudgeon did overdubs and mixing for the album. When Dudgeon found out they had the synth, which was introduced in 1971, he had Hentschel play it and ended up using it in the final mix.

Hentschel got the call again on the Goodbye Yellow Brick Road album when Dudgeon had him create the opening section to “Funeral For A Friend / Love Lies Bleeding” on the ARP. In the 1977 movie Close Encounters Of The Third Kind, an ARP 2500 plays the notes that summon the aliens.

When Elton played the Soviet Union in 1979, this was listed on the program as “Cosmonaut.”

This was Elton’s biggest hit to that point, outcharting his first Top 10 entry, “Your Song.” It had a huge impact on his psyche, as it gave him the confidence to know that he could sustain his career in music.

Baseball pitcher Roger Clemens’ nickname was “The Rocket,” which led to lots of highlight videos of him pitching in slow motion with this song playing in the background. He earned the nickname because of his outstanding fastball, but later came under scrutiny when the league learned that his rocket fuel may have been steroids. Clemens denied the allegations and was never convicted of steroid use.

Kate Bush covered this in 1991 for an Elton John tribute album called Two Rooms (a reference to John and Taupin writing separately). Her version hit #12 in the UK.

Bush told NME that this is one of her favourite songs of all time. “I remember buying this when it came out as a single by Elton John,” she said. “I couldn’t stop playing it – I loved it so much. Most artists in the mid seventies played guitar but Elton played piano and I dreamed of being able to play like him.”

When years Elton and Bernie Taupin asked Bush to record one of their songs for Two Rooms, she chose “Rocket Man.” They gave her complete creative control which was both exciting and a bit daunting for the singer. “I wanted to make it different from the original and thought it could be fun to turn it into a reggae version,” she said. “It meant a great deal to me that they chose it to be the first single release from the album.”

William Shatner performed a spoken-word version of this song at the 1978 Science Fiction Film Awards, for which he was the host. Bernie Taupin did the introduction. 

At a show in Anaheim, California on August 22, 1998, Jim Carrey joined Elton for a duet of this song. Carey gave a real performance before sitting at the piano and bashing his head into the keys. 

On an episode of the television show Family Guy, Stewie does a spoken version of this song. 

This was used in a 2017 commercial for Samsung’s Gear VR where an ostrich learns to fly after using the flight simulator on the device.

Speaking at the United Nations on September 19, 2017, American president Donald Trump excoriated North Korean leader Kim Jong Un, referring to him as “Rocket Man” because of his missile program. “Rocket Man is on a suicide mission for himself,” Trump declared. This song immediately began trending.

This wasn’t the first time the phrase was used in this context: The Economist put Kim Jong Un’s father, Kim Jong Il, on the cover of their July 8, 2006 issue with the headline “Rocket Man.”

American country group Little Big Town covered the song for the 2018 Elton John tribute album Restoration. Their version features sounds from NASA’s Mission Juno. The Juno project explored the planet Jupiter unlocking some of the secrets of the planet and the sounds from Juno’s Waves radio instrument were weaved throughout Little Big Town’s harmonies.

“One of the main reasons why we chose ‘Rocket Man’ was because we were so intrigued by not just, of course, Elton John, but by using the sounds from the Juno project so we had all these Jupiter noises,” said Little Big Town’s Karen Fairchild.

Rocket Man

She packed my bags last night pre-flight
Zero hour nine AM
And I’m gonna be high as a kite by then
I miss the earth so much I miss my wife
It’s lonely out in space
On such a timeless flight

And I think it’s gonna be a long long time
‘Till touch down brings me round again to find
I’m not the man they think I am at home
Oh no no no I’m a rocket man
Rocket man burning out his fuse up here alone

And I think it’s gonna be a long long time
‘Till touch down brings me round again to find
I’m not the man they think I am at home
Oh no no no I’m a rocket man
Rocket man burning out his fuse up here alone

Mars ain’t the kind of place to raise your kids
In fact it’s cold as hell
And there’s no one there to raise them if you did
And all this science I don’t understand
It’s just my job five days a week
A rocket man, a rocket man

And I think it’s gonna be a long long time
‘Till touch down brings me round again to find
I’m not the man they think I am at home
Oh no no no I’m a rocket man
Rocket man burning out his fuse up here alone

And I think it’s gonna be a long long time
‘Till touch down brings me round again to find
I’m not the man they think I am at home
Oh no no no I’m a rocket man
Rocket man burning out his fuse up here alone

And I think it’s gonna be a long long time
And I think it’s gonna be a long long time
And I think it’s gonna be a long long time
And I think it’s gonna be a long long time
And I think it’s gonna be a long long time
And I think it’s gonna be a long long time
And I think it’s gonna be a long long time
And I think it’s gonna be a long long time

The Kinks – Give The People What They Want…Desert Island Albums

This is my eighth-round choice from Hanspostcard’s album draft…100 albums in 100 days.

2020 ALBUM DRAFT- ROUND 8- PICK 4- BADFINGER20 SELECTS- THE KINKS- GIVE THE PEOPLE WHAT THEY WANT

In 1981 I remember hearing Destroyer on the radio and was confused..Wait…is this a new version of All Day and All of the Night? I wanted that song so I bought the album. Give The People What They Want combines different styles. Punk, Rock, and a little New Wave was thrown in on a few of the songs. I had bought singles and a greatest hits by the Kinks but this was the first new Kinks album I purchased. It’s not considered among their best but I think it’s been underrated and the album still stands up today.

It didn’t get the recognition that their next album “State of Confusion” received because it didn’t have a huge hit single like Come Dancing. Songs like Better Things, Around The Dial,  and Destroyer did get radio play though.

Two years after I bought the album I saw the Kinks live at the Grand Ole Opry in Nashville. They opened with “Around The Dial,” the opener off of this album.. Ray started to write songs that played well in arenas during this time. The concert was right up there with The Stones concerts to me. I was lucky to see the Kinks while they still were still releasing new albums.

Their energy was off the charts. They were approaching middle age but they had more energy than their opening band (The White Animals) who were in their early 20s.

The album opener… Around The Dial is a song that I totally can relate to today because of pre-programmed radio shows. It’s about corporations taking over radio and getting rid of the free form local DJ’s who played songs that their audience actually wanted to hear. This was starting to get popular in the late seventies…now it’s standard.

The song Give The People What They Want is my favorite song off the album. While writing Low Budget, their previous album, Ray was watching American TV including “That’s Incredible” where people did dangerous and insane stunts. He writes a fair statement about the viewing public…now and then. Parts of it are crude but is true to life.  When Oswald shot Kennedy, he was insane, But still we watch the re-runs again and again, We all sit glued while the killer takes aim…

Ray borrowed his own riff from All Day And All Of The Night and repurposed it for Destroyer. He also revisits Lola in the song. Destroyer reached #3 on the Billboard Rock Top Tracks chart and #85 on the Billboard 100.

Better Things has a  new wave feel to it and one of the few optimistic songs on the record. It’s the closing song on the album and changes the dark cynical tone of the album to a little more hopeful.

I finally brought an album to the island that wasn’t released in the 60s or 70s. This 1981 album rocks. It’s probably the hardest rock album that the Kinks ever produced…but it’s still unmistakably Ray Davies.

  1. Around The Dial
  2. Give The People What They Want
  3. Killers Eyes
  4. Predictable
  5. Add It Up
  6. Destroyer
  7. Yo-Yo
  8. Back To Front
  9. Art Lover
  10. A Little Bit Of Abuse
  11. Better Things

Dwight Yoakam – A Thousand Miles from Nowhere

A great single by Dwight Yoakam. This song works as a country or pop song. I didn’t listen to any new country in the 90s much at all. This one got my attention.

The song peaked at #2 on the Billboard Country Charts and at #3 in Canada in 1993. The song was written by Yoakam and produced by Pete Anderson.

The song was on Dwight’s album This Time. The album peaked at #4 in the Billboard Country Album Charts, #1 in the Canada RPM Album Charts, and #25 in the Billboard Album Charts.

Five singles were released from This Time. Each made the Country Top 40 and they all made the Canada top 5 Country in 1993-94.

The song was featured in two films, Red Rock West and Chasers.

A Thousand Miles From Nowhere

I’m a thousand miles from nowhere
Time don’t matter to me
‘Cause I’m a thousand miles from nowhere
And there’s no place I want to be

I got heartaches in my pocket
I got echoes in my head
And all that I keep hearing
Are the cruel, cruel things that you said

I’m a thousand miles from nowhere
Time don’t matter to me
‘Cause I’m a thousand miles from nowhere
And there’s no place I want to be

Oh, I
Oh, I
Oh, I

Oh, I
Oh, I
Oh, I

I’ve got bruises on my memory
I’ve got tear stains on my hands
And in the mirror there’s a vision
Of what used to be a man

I’m a thousand miles from nowhere
Time don’t matter to me
‘Cause I’m a thousand miles from nowhere
And there’s no place I want to be

I’m a thousand miles from nowhere
Time don’t matter to me
‘Cause I’m a thousand miles from nowhere
And there’s no place I want to be

Oh, I

I’m a thousand miles from nowhere

I’m a thousand miles from nowhere

I’m a thousand
I’m a thousand

Beatles – If I Needed Someone

This has that Rickenbacker sound. This song was written by George Harrison, who was influenced by The Byrds song “The Bells of Rhymney.” This one has always been a favorite of mine by George.

If I Needed Someone was one of four songs Capitol Records held off of the American release of Rubber Soul. US audiences hadn’t heard the song until June 20th, 1966, which was the date of release for the American album Yesterday…And Today.

If I Needed Someone was the only George Harrison composition to have been performed live by The Beatles. The other songs that featured George on vocals were covers but this was the only original song before they stopped touring.

The Hollies received an early recording of “If I Needed Someone.” They proceeded to quickly record their own rendition of the song and release it as their next British single on December 3rd, 1965, the exact day that The Beatles’ released Rubber Soul.

The Hollies took the song to #20 on the British charts, and it became the first George Harrison composition to make the charts.

Roger McGuinn: “George Harrison wrote that song after hearing the Byrds’ recording of “Bells of Rhymney.” He gave a copy of his new recording to Derek Taylor, the Beatles’ former press officer, who flew to Los Angeles and brought it to my house. He said George wanted me to know that he had written the song based on the rising and falling notes of my electric Rickenbacker 12-string guitar introduction. It was a great honor to have in some small way influenced our heroes the Beatles.”

From Songfacts

 It was not Ravi Shankar that introduced George to the wonderment of sitar, but Byrd traveler David Crosby shortly after Shawn Phillips had shown him the basic steps. In 1965 The Beatles toured the US and visited Ravi at World Pacific Studios where The Byrds had permanent residency. It was also here that Roger McGuinn’s Rickenbacker jingle jangle influenced Harrison’s “If I Needed Someone.” In turn, The Byrds were influenced by Harrison’s 12-string guitar work. 

If I Needed Someone

If I needed someone to love
You’re the one that I’d be thinking of
If I needed someone

If I had some more time to spend
Then I guess I’d be with you my friend
If I needed someone
Had you come some other day
Then it might not have been like this
But you see now I’m too much in love

Carve your number on my wall
And maybe you will get a call from me
If I needed someone
Ah, ah, ah, ah

If I had some more time to spend
Then I guess I’d be with you my friend
If I needed someone
Had you come some other day
Then it might not have been like this
But you see now I’m too much in love

Carve your number on my wall
And maybe you will get a call from me
If I needed someone
Ah, ah