Back when I did the post about dogs, I said I would revisit this band soon, and I’m doing that today! I just discovered this band in the past few months with the song I Love My Dog, and I love what I’ve heard. This particular song is right up my alley. It’s about Facebook, and all its negativity.
They came out of Missouri in the early 1990s; they were built around songwriter Brian Henneman. Before forming the band, Henneman spent time around the St. Louis music scene and even played with Uncle Tupelo during their early years. The Bottle Rockets formed in Festus, Missouri, and quickly found a place in the alt-country movement alongside bands mixing rock, country, and blue-collar stories.
Their early records carried a bar-band feel, with songs about small towns, jobs, and people trying to get through everyday life. They were not trendy, and that helped them build a loyal following through constant touring and records that sounded real. This song was on the album Bit Logic, released in 2018 when the band was already more than 25 years old. By that point, Brian Henneman had settled into writing songs that looked at middle America without trying to romanticize it. This would be their last studio album.
I really loved the production on their albums. The band recorded the songs quickly and tried to capture the feel of a live group in a room. That approach helped this song come across as more believable. It’s the timeless approach, and it works every time, at least to me. They never had huge radio hits, but musicians and longtime fans stayed loyal because the records felt honest. Brian Henneman retired the band in March 2021 after a 28-year run, citing a desire to step away from touring and enjoy a normal life at home
Doomsday Letter
Hey Chicken Little, whatcha got cookin’? The sky is fallin’, the sky is fallin’ You really wanna prove it but I ain’t lookin’ But you keep callin’, you keep callin’
I ain’t gonna read another doomsday letter I’m leavin’ it to Jesus, man the odds seem better Whatever I can do to keep my chin up is a damn good thing
Hey Nostradamus, I ain’t listenin’ To the bile you’re spewin’, the bile you’re spewin’ There’s way more left in the world that’s glistenin’ It’s not all ruin, it’s not all ruin
I ain’t gonna read another doomsday letter I’m leavin’ it to Jesus, man the odds seem better Whatever I can do to keep my chin up is a damn good thing
You can laugh and point and say my head’s in the sand Well my toes are too, it’s a seaside view Since I turned you off I found a wonderland In the middle of your gloom Right inside your gloom
Hey Grim Reaper, even if you’re right I ain’t buyin’, I ain’t buyin’ Keeps me warm on a winter night But just keep tryin’, just keep on tryin’
I ain’t gonna read another doomsday letter I’m leavin’ it to Jesus, man the odds seem better Whatever I can do to keep my chin up is a damn good thing Whatever I can do to keep my chin up is a damn good thing Whatever I can do to keep my chin up is a damn good thing
When Robert Plant made his first solo album, I didn’t know what to think. I was expecting Zeppelin, but he threw a curve. Something that grew on me, and later I realized if Plant went back to Zeppelin style music, he wouldn’t have lasted long. I got my first car in 1983, and I was riding in style in my 1966 Mustang. Big Log is one of the first songs I remembered playing in that car. I have followed Plant ever since the Pictures at Eleven album.
This song came out in 1988 on the album Now and Zen, a record that gave Plant a major commercial comeback in America after a few years of uneven sales. The song was built around a rocking riff and a big arena-rock sound, but Plant and producer Tim Palmer also loaded it with Zeppelin history. He was trying to combine modern production with older rock influences.
I thought at the time, he was finally embracing his history and adding it to his approach. The music video made that clear by mixing old clips of Led Zeppelin with new footage of Plant performing. It shocked some fans because he had spent years distancing himself from Zeppelin. Sampling music was huge at this time, and the lawsuits were flying from older bands that were sampled. Plant didn’t have to worry about that in this one. He sampled his own Led Zeppelin catalog, including Black Dog, Whole Lotta Love, Dazed and Confused, Custard Pie, and The Ocean.
MTV played the clip constantly, and the song became one of Plant’s biggest solo hits, helping Now and Zen climb up the charts. The album peaked at #6 on the Billboard Album Charts, #4 in Canada, #7 in New Zealand, and #10 in the UK in 1988. The song peaked at #1 on Billboard Mainstream Rock Charts, #25 on the Billboard 100 Charts, and #87 in the UK, and #22 in New Zealand.
Long Cool One
Like a cat running in the heat of the night Got a fire in my eyes, got a date with delight Some kinda moaning in the heart of the storm I’m gonna love you so hard, if you want your loving done Lighten up baby I’m in love with you With my one hand loose I am to satisfy You like my loving machine, I like your bloodshot eyes Real gone girl jumping back with the beat I’ll be your tall cool one with those crazy feet Lighten up baby I’m in love with you I’m so tall and you’re so cute, let’s play wild like wildcats do You’re gonna rock your tall cool one I’m gonna say that – you’re gonna say – aaah You stroll, you jump, you’re hot and you tease ‘Cause I’m your tall cool one, and I’m built to please M-m-move over mister step on back in the crowd ‘Cause she’s a whole lotta sister ’bout to drive me wild Lotta place I’ve seen, lotta names lotta words No one compares to my real gone girl Lighten up baby I’m in love with you
I was graduating from high school when I heard this band. There was a buildup about them because of the members. You had guitarist Jimmy Page (Led Zeppelin), singer Paul Rodgers (Free, Bad Company), drummer Chris Slade (Manfred Mann’s Earth Band), and the great bassist Tony Franklin (who worked with many). I went out and bought the single for this one.
They managed to create a band that avoided nostalgia and sounded like a working group rather than a reunion act. The goal was to write fresh material rather than new Zeppelin or Bad Company songs. They did that because they didn’t really sound like either. The song was written by Paul Rodgers and became the band’s biggest single in the U.S., helped by heavy rotation on MTV during their peak.
The band itself released only two studio albums: the self-titled album in 1985 and Mean Business in 1986. Even with the short lifespan, The Firm gave Page a way back into recording and touring after a difficult stretch in the early 1980s. Page admitted it was never meant to last past two albums. Page was coming out of a difficult time after Zeppelin ended.
Ok, yes, I love bass, and that stands out in this one. Tony Franklin used a fretless bass to get that smooth sound. I remember some older Zeppelin fans were unsure about the keyboards and production style, but the song found a younger audience that was already listening to harder-edged 1980s rock. Over time, this song became the signature track for The Firm and one of the better-known post-Zeppelin recordings connected to Jimmy Page.
The song peaked at #28 on the Billboard 100, #75 in Canada, and #76 in the UK in 1985. The song was written by Paul Rodgers.
Radioactive
Well I’m not uptight Not unattracted Turn me on tonight ‘Cause I’m radioactive Radioactive
There’s not a fight And I’m not your captive Turn me loose tonight ‘Cause I’m radioactive Radioactive
I want to stay with you I want to play with you baby I want to lay with you And I want you to know
Got to concentrate Don’t be distractive Turn me on tonight ‘Cause I’m radioactive Radioactive Radioactive Radioactive
I want to stay with you I don’t want to play with you I want just to lay with you And I want you to know
Got to concentrate Don’t be distractive Turn me on tonight ‘Cause I’m radioactive oh yeah Oh yeah radioactive Don’t you stand, stand too close You might catch it
I had this song in my drafts for 6 months, but never completed it after I heard this song on a Traffic and Dave Mason binge I went on. A few weeks ago, Mason passed away, and I wanted to get this out now. I do want to thank halffastcyclingclub for bringing him up last week. He could play anything, it seems, and had a huge range in music.
Dave Mason was a founding member of Traffic in the late 1960s, and they had a cool mix of folk, rock, psychedelia, and blues. Mason wrote some of Traffic’s best-known songs, including Feelin’ Alright, which later became a major hit for Joe Cocker.
Mason had a reputation for leaving and then rejoining Traffic several times because of creative differences, but he was a key part of the band’s sound. During the late 1960s and 1970s, he became one of rock’s most respected session musicians, appearing on recordings by artists such as Jimi Hendrix, George Harrison, the Rolling Stones, Derek and the Dominos, Fleetwood Mac, and Paul McCartney.
His solo career took off with songs such as Only You Know and I Know and some strong songwriting. Mason’s guitar playing was off the charts as well. This song appeared on his 1977 album Let It Flow, a record that was more toward the smoother California rock sound that was popular on the radio at the time.
This album also produced We Just Disagree, which became Mason’s biggest solo hit and helped push the record into a wider audience. Because of the song’s popularity, this song sometimes gets overlooked, but it helped establish the album’s tone from the beginning. By this time, he had been living in the United States for several years, and the album had that West Coast influence more than the English psychedelia of his Traffic days.
The album Let It Flow peaked at #41 on the Billboard Album Charts and #36 in Canada in 1977. The song peaked at #45 on the Billboard 100.
Let It Go, Let It Flow
When I’m alone, I sometimes get to thinkin’ How it’s gonna be when we’re gone? Are we moving closer together Or is it gonna take forever and ever?
Let it go, let it go, let it flow like a river Let it go, let it go, let it flow through you Let it go, let it go, let it flow like a river Let it go, let it go, let it flow through you
Searching everywhere just tryin’ to find a reason A misunderstanding in doubt Don’t want to preach it, push it or teach it Just take a good look all around
Let it go, let it go, let it flow like a river Let it go, let it go, let it flow through you Let it go, let it go, let it flow like a river Let it go, let it go, let it flow through you
Was it gonna follow that angels gonna call on you To help you on your way Time spent together, like now, is forever So, don’t ever let this smile slip away
Let it go, let it go, let it flow like a river Let it go, let it go, let it flow through you Let it go, let it go, let it flow like a river Let it go, let it go, let it flow through you
Let it go, let it go, let it flow like a river Let it go, let it go, let it flow through you Let it go, let it go, let it flow like a river Let it go, let it go, let it flow through you
Someone asked me the other day if the RMS Titanic was rebuilt using the same blueprints today, would you sail on her? I said yes, I would. Titanic’s damage was catastrophic and a fluke. It wasn’t poor design that caused her to sink; it was the fact that she was dealt a long, glancing blow that pierced multiple compartments. An astronomically small percentage eventuality that no engineer would plan for. She was designed with a double bottom and watertight compartments for safety. She was also a huge ship. The biggest man-made movable object at that time in the world. To put the Titanic’s size in context, she comes up to almost 3 American Football fields put together. It was 269.1 meters long.
Many engineers say she would have survived if she had hit the iceberg head-on. That ship was built for that to happen, so it’s probably true. But if you were driving down the road at night and suddenly saw an object in the middle of the road, like a deer or cow, your first instinct would not be to hit it head-on. You would try to steer around it. If they had spotted it a minute earlier, they probably would have missed it. Here are some personal stories and a little-known accident that could have caused the ship to sink faster.
Since this is a music blog mostly, I had to talk about Wallace Hartley. He was the bandleader aboard the ship and became one of the most remembered figures from the sinking because he and his fellow musicians continued playing as the ship sank. He had worked on several passenger liners before joining Titanic’s maiden voyage. As panic spread and lifeboats were lowered, Hartley led the ship’s band in playing music to calm passengers and maintain order during the final hours. Survivors later recalled hearing hymns and popular tunes drifting across the deck as the bow slipped beneath the water, with many believing the final piece played was “Nearer, My God, to Thee.” Hartley’s body was recovered weeks later, still wearing his band uniform, and he was buried in England, where thousands attended his funeral in recognition of his courage and composure. His violin was also found floating in the case, and now it is in a museum.
Margaret Brown (The Unsinkable Molly Brown) was an American socialite and philanthropist who became famous after surviving the sinking. Brown and her husband found wealth through mining investments. On the Titanic, she boarded Lifeboat No. 6 after the collision, where she reportedly urged the crew to row back to search for survivors. After being rescued by the RMS Carpathia, she organized aid for poorer passengers, raising money and helping create survivor lists. Her outspoken personality and determination earned her the nickname “The Unsinkable Molly Brown,” though she was never actually called that during her lifetime. I love this woman; she threatened to throw the officer overboard on the lifeboat if he didn’t go back and get survivors. To be fair, he was afraid of the lifeboat getting swamped and capsizing with people.
While she was a hero, the “Molly” nickname is a posthumous invention that transformed her into a colorful, legendary character. There is more information at Molly Brown House Museum.
On the night of April 14–15, 1912, Jack Phillips and Harold Bridewere already busy clearing a backlog of passenger messages when their Marconi wireless system had earlier broken down, forcing them to spend hours repairing the set so it could get back on the air, work that paid off when it came time to send distress calls after the collision. Phillips stayed at the key almost continuously, tapping out CQD and the newer SOS signals while Bride assisted. They relayed information and helped keep the failing equipment running as power weakened. Even as water crept closer and the strain on the system grew, they continued transmitting ship positions and pleas for help, giving nearby vessels a chance to respond. Bride was eventually washed off the deck and survived, while Phillips remained at his post until the end and died, an example of two operators who kept the line open as long as there was any current left to carry their signal. It paid off as well; the next morning, the survivors were picked up. They would not have survived on those lifeboats long on the Atlantic.
Benjamin Guggenheim was a wealthy American businessman and heir to the Guggenheim mining fortune who traveled aboard as a first-class passenger. When the ship struck an iceberg, Guggenheim initially slept through the impact but soon understood the seriousness of the situation. He and his valet helped with the deck evacuation. He famously said to some of the survivors: I am willing to remain and play the man’s game if there are not enough boats for more than the women and children. Tell my wife I played the game straight out and to the end. No woman shall be left aboard this ship because Ben Guggenheim is a coward. Near the end, he said this about him and his valet dressed in their best clothes: We dressed in our best and are prepared to go down like gentlemen, but we would like a brandy. Witnesses last saw Guggenheim and Victor Giglio (his valet) seated in deck chairs near the Grand Staircase as the ship’s final moments approached. His body was never recovered, but his acceptance of fate became one of the enduring stories of that night. I really like this guy! Guggenheim’s business morphed into the current company that owns the Los Angeles Dodgers.
Violet Jessop was either really lucky or unlucky. Violet was an ocean liner stewardess who became known as “Miss Unsinkable” after surviving not only the Sinking of the RMS Titanic in 1912, but also two other major maritime disasters. Jessop worked for the White Star Line and served aboard the ship as a stewardess. After the collision with the iceberg, she helped passengers reach lifeboats and was eventually ordered into Lifeboat 16, where an officer handed her a baby to care for during the evacuation. She was rescued by the RMS Carpathia and later continued working at sea, surviving the collision of the RMS Olympic with another ship (the Olympic was repaired and good) in 1911 and the sinking of the hospital ship HMHS Britannic (Titanic’s young sister, it was sunk by a German mine and it was a hospital ship at that time) during World War I. Her remarkable survival story made her one of the most unusual figures connected to the Titanic.
The Gangway Door theory.
The Gangway door was opened and never closed. One of the lesser-known details of the sinking involves the port-side gangway door on D Deck, a large shell door typically used to board passengers and cargo while in port. During the evacuation, Second Officer Charles Lightoller ordered crewmen to open it so lifeboats could come alongside and take on passengers closer to the rising waterline, rather than forcing everyone to climb down from the Boat Deck. The idea made sense because many lifeboats were leaving partially filled. Evidence suggests the door was successfully opened, as it was later found open on the wreck. Some Titanic researchers believe that once the bow sank lower, seawater pouring through that opening may have accelerated flooding on the port side and shaved minutes off the ship’s remaining time afloat, though the exact effect is still debated. I DON’T fault the crew for this, with what was going on, who can blame them? BTW…this door was 3 x 6 feet, and that was maybe bigger than the smaller leaks that the iceberg brought. To be clear, the ship was sinking by that point anyway, but this very well could have sped it up.
Now, could it have blown open when the ship hit the bottom? Yes, but officers said at the inquiry that they did, in fact, load some lifeboats from there. So they did say it was open, and either they were in a hurry and didn’t close it all the way, they forgot to close it, or it was blown open at the sinking. Although there is a door right beside it that didn’t open. That would, though, explain the 20-minute difference in the computer simulations. Not that I entirely trust computer simulations, but it does make sense.
To put it into context. After using sonar (the damaged side is buried in the mud) to assess the damage caused by the iceberg on the wreck, the total was 12 square feet. The gangway door measures 18 square feet. Also, the damage wasn’t a huge gash. It was mostly a dented hull, with the rivets giving out. Just cuts, not a huge gash. Its length is what sank the ship. Five watertight compartments were breached. If there is one thing that could have made her stronger, it would be welding instead of rivets, but that wouldn’t come until The SS Fullagar was the first welded ship in 1920.
If you want to see where we are…HERE is a list of the episodes.
I love this episode because Number 6 really plays mind games with Number 2. This one would be in my top 2-3 episodes. A lot of the episode’s punch comes from Patrick Cargill as Number Two. Number Six realizes the current Number Two is a sadistic person who enjoys breaking people mentally. He plays him as confident and controlling, but also touchy about status and easily rattled when things stop going his way. That’s a contrast to some of the more theatrical Number Twos, because Cargill’s version feels like a real administrator, a man who believes rules, regulations, and pressure will solve everything. Number 6 turns Number 2’s paranoia on himself. The last scene of this episode might be the best in the series.
The episode starts with an attempted suicide by a lady. Later, when she is upset in the hospital, Number 6 tries to help her, but she jumps out the window to her death. Number 6 has been mad before, but in this one, he is seething after that happened, and deservedly so. He was then essentially kidnapped to go see Number 2. This is where the games began. I won’t list the details because I don’t want to spoil it.
Number Two treats the Village like a machine, and he expects everyone, including Number Six, to fit into it. Number Six refuses, and instead of reacting predictably, he studies how the place works and looks for the weak points. As the episode unfolds, Six carefully manipulates the system around him. He uses coded messages, staged behavior, and the Village’s own surveillance against Number Two, making it appear that Two is losing control. Number Two, who thrives on control, begins to unravel under the pressure, seeing threats where there may be none and second-guessing everything he does.
The more Number Two tightens control, the more he reveals how dependent he is on being feared and obeyed. Number Six keeps his distance, letting the pressure build until Number Two starts making mistakes in public. Number Two collapses under the weight of his own tactics, and the Village will replace him like a broken part. The episode serves as a warning about control and what happens when a person becomes nothing but the role they play. This episode also shows that the administrators don’t even trust each other. Be Seeing You!
5-6 years ago, I had no clue who Joe Ely really was. I had heard his name but not much of his music. When I started to get into his music, I fell hard and am still falling. He opened up different artists and bands to me to enjoy. Guy Clark, Dave Alvin, and many more. Now that music is entrenched in my daily listens. I love the seesaw between the vocals and guitar in this song. It hits you with that, and that was enough to hook me.
Ely was born in Amarillo in 1947 and raised in Lubbock, Buddy Holly’s hometown. Ely came of age surrounded by dust storms, flat horizons, and rock ‘n’ roll. He has been in many bands. The Flatlanders, The Buzzin Cousins, Los Super Seven, and more. Plus, he was good friends with The Clash, with whom he toured at one time.
The song has the Texas storytelling with a harder rock edge that had grown through the 1980s with Ely. The song is from the 1992 album Love and Danger, and it feels like Ely standing between two worlds, part roots rock, part country song built for barrooms. I listened to the album this past week, and I would recommend it to everyone.
The album was recorded in Nashville and produced by Ely alongside producer Tony Brown. Brown had worked with artists across country and roots music, and his approach fit Ely’s writing style. The sessions focused on clean performances and strong players rather than heavy studio production.
During the making of the record, Ely had written dozens of songs over several months, pulling ideas from travel, Texas landscapes, and years of touring. The sessions had clean arrangements that gave space to the lyrics and Ely’s voice. Guitarist David Grissom added strong electric guitar throughout the album, helping fuse all the styles together.
Settle For Love
You say you want drama I’ll give you drama You say you want muscle I’ll give you nerve You want sugar Would you settle for honey? You want romance Would you settle for love?
Would you settle for love? Would you settle for love? Would you settle for love or do you need All that meaningless stuff Would you settle for love? Would it be enough? Baby, would you settle for love?
You say you want fire I’ll give you fever You want kisses I’ll give you all I got You want diamonds I’ll give you rhinestones And you want romance Would you settle for love?
Would you settle for love? Would you settle for love? Would you settle for love or do you need All that meaningless stuff Would you settle for love? Would it be enough? Baby, would you settle for love?
I always liked Bill Wyman’s bass playing with the Rolling Stones. Wyman never got the credit he deserved. Really good bass player and a great taste in music. When I first heard this band, I was excited by how authentic they sounded. I knew that Wyman grew up with jump-blues, and he went back to the source.
Wyman built a band around his childhood records, which he grew up with before rock became so huge. They came together in the late 1990s as a loose group of players who loved jump blues, early R&B, boogie-woogie, and jazz. The lineup changed from tour to tour, with musicians like Mike Sanchez, Paul Carrack, Mick Taylor, Mary Wilson, Georgie Fame, Albert Lee, and Terry Taylor moving through the group. They resembled those early rock and blues package tours, with singers, horn players, and keyboard man Mike Sanchez sharing the spotlight.
This classic song was a natural fit for that kind of band. The song dates back to 1947 when Amos Milburnrecorded it during the rise of jump blues, and it was written by Lola Cullen and Amos Milburn. It was released in 1948, and it became one of Milburn’s biggest hits. The title referred to late-night clubs and roadside spots where people gathered for music and dancing. It was built around a rolling piano riff, which caught my ear right off the bat.
They recorded and played it with respect for the original sound. Mike Sanchez usually handled the piano and vocal duties, giving the track the same driving feel that Milburn’s version had. This sound and song could have been recorded and played in 1950. Having Albert Lee in your band is like having an ace in the hole. One of the best guitar players there is. He can and has played about every type of music you can think of.
Chicken Shack Boogie
Hello everybody this cat is back, Looking for a place called the Chicken Shack They only serve warm beer rice and beans But it feels just like it’s down in New Orleans Brace yourself baby I’m here to attack Down at the place called the Chicken Schack The girls at that place are mighty fine But stay off sadie green cause that girl is mine The moonlight shines through the holes in the wall Everybody there is having a ball They don’t care that the place looks like a wreck Down at the place called the Chicken Shack I wanna rip it, rock it, really bop it Flip it, flop it, David Crocket Just like Roy Montrell every time he hears hat mellow saxophone The good old rockin’ days will never come back Except down at the place called the Chicken Shack The good old rockin’ days will never come back Except down at the place called the Chicken Shack
I always liked this band and the sound they had in the 80s. I look at them the way I do at Big Star and The Replacements. Why didn’t they take off commercially? It makes no sense to me at all, but the charts and mainstream radio got this wrong. Now, let’s bring some power pop back to this power pop site!
This was the song that first gave The Smithereens national attention. It was released in 1986 on their debut album, Especially for You. It was based around a heavy bass line, which makes me happy, sharp guitar parts, and the voice of songwriter Pat DiNizio. The song had been around in some form before the band signed a record deal. It was part of the material they developed while playing clubs across New Jersey and New York. When it appeared as a single, college radio picked it up, and most importantly, MTV did as well.
DiNizio wrote this song after reading the 1946 novel “Blood and Roses” by British writer Helen MacInnes, though the lyrics were not a direct adaptation. Instead, he used the title to frame a story about a difficult relationship. Like many Smithereens songs, it drew from pop culture and personal memories.
It was produced by Don Dixon, who kept the arrangement sharp and tight, letting the rhythm section carry much of the song. It became the band’s signature song, still tied closely to the sound of American college radio in the mid-1980s, when guitar bands were finding an audience outside of mainstream radio. And that is where I was at the time!
The song peaked at #14 on the Billboard US Mainstream Rock Charts in 1986. The album peaked at #51 on the Billboard Album Charts.
Blood and Roses
It was long ago, it seems like yesterday Saw you standing in the rain Then I heard you say
I want to love, but it comes out wrong I want to live, but I don’t belong I close my eyes and I see blood and roses
Wild flowers in the springtime October we were wed In winter time the roses died Her blood ran cold and then she said
I want to love, but it comes out wrong I want to live, but I don’t belong I close my eyes and I see blood and roses
It was long ago, it seems like yesterday I saw you standing in the rain Then I heard you say
I need your love, but it comes out wrong I tried to live, but I don’t belong I close my eyes and I see blood and roses Blood and roses (roses) Blood and roses (roses) Blood and roses (roses)
I ain’t lonely no more Got a woman, got a kid Got a whole lot more Got my own backyard With a fence and a big front door
As big a fan of Ronnie Lane and Steve Marriott as I am, I never heard their 1981 album Majik Mijits. Sometimes when I run across something, I get really excited. This is one of those times. Marriott is probably my favorite vocalist of that genre.
It was recorded in 1981 but not released until 2000, after both had passed. The opening song, Lonely No More, has a nice choppy rhythm and a fantastic groove. The lyrics are simple and repetitive, but they are so grounded in everyday life that I love them. I was 14 in 1981, and I would have bought this if it were released.
This album came from a reunion that probably surprised a lot of people. By the early 1980s, Ronnie Lane and Steve Marriott had been apart for years. Their time in Small Faces was long behind them, and both had gone through hard stretches. Lane was dealing with multiple sclerosis, and Marriott had come through the rise and collapse of Humble Pie. When they crossed paths again around 1981, the old connection returned quickly. They had argued in 1969 when Marriott left the Small Faces, but their friendship was still there, and so was the music.
They recorded under the name The Legendary Majik Mijits, bringing in musicians from the British pub-rock world. The songs sounded natural, closer to musicians sitting together in a room than looking for radio play. Recording together again gave them a chance to step away from pressures and expectations. There was no pressure to recreate Small Faces. They were older, and the music reflected that.
The album sat in limbo for 19 years after it was recorded. Part of that came down to Lane’s health. Touring and promotion would have been difficult, and there was little interest in pushing the record without him being fully involved. Marriott said he did not want the album turned into something that forced Lane into a situation he could not handle physically. So the tapes stayed unreleased, almost becoming forgotten sessions. Majik Mijits finally appeared in 2000 and was remastered in 2014.
They did one show together. This next is from Lane’s website:
Steve Marriott and Ronnie Lane got back together in 1981. Steve flew back from Atlanta, Georgia, to play a one-off gig with Ronnie at the Bridge House pub in East London. The gig on 1st September included the band Blind Drunk with old mates Jim Leverton on bass, Mick Green of the Pirates on guitar, Mick “Wynder K Frog” Weaver on keyboards, and Dave Hynes on drums. Sam Brown, daughter of Joe joined on backing vocals.
Lonely No More
I ain’t lonely no more Got a woman, got a kid, lord, got a whole lot more Can’t be lonely no more Got my own back yard, I got my own front door
(lonely no more) Can’t be lonely no more (lonely no more) How can I paint what I was now I ain’t gonna be lonely no more (lonely no more) (lonely no more)
I ain’t lonely no more Sat here by the fire with my dog on the floor Can’t be lonely no more That’s one thing I know, lord, I’m certain, I’m so sure
(lonely no more) can’t be lonely no more (lonely no more) How can I be what I was, don’t you see I can’t be lonely? (lonely no more) (lonely no more)
lonely no more (lonely no more) I ain’t lonely no more got a woman, got a kid, I got a whole lot more can’t be lonely no more I got my own backyard with a fence and a big front door look out
(lonely no more) woo (lonely no more) (lonely no more) lonely no more (lonely no more) can’t be lonely (lonely no more) can’t be lonely (lonely no more) can’t be…
First, I wanted to say that this weekend I will post, but I could be late in responding to comments…I will when I get breaks from this.
We have had this vehicle for around 17 years or so. It stopped running a long time ago, and we stored it at a friend’s house. I’ve had many offers on it (believe it or not), but I never wanted to sell it. A truck can come in handy, and my buddy Greg has an engine and transmission that would fit perfectly. It is a 1985 Chevy S-10 Durango. It’s not too pretty, but it will be able to get you from A to B, and it makes a great trash truck on the weekends.
This weekend (that’s the plan), he is going to show me how to take an engine out and put one back in. He has a diesel engine that went into a Chevy Luv in the 80s, and they get around 40 mpg. The truck was dirty as hell, and it took me 3 scrubbing bubbles cans to get the tree sap and everything else off of it. This week, after work, Greg and I took the grill, bumper, and headlights off. I guess you are never too old to learn.
I’ll let everyone know how it goes…hopefully everything will go through, and Saturday we will start. I will be commenting, but I will be late!
I can’t tell you how happy I was to get that reaction to the last Titanic post, and thank you all for reading. Thank you for indulging me. You all probably know these terms, but I didn’t, so if any of you were like me, this will help. The Bow is the front of the ship, and the Stern is the back end. The Port Side = left-hand side of a ship when you are on board and facing forward toward the bow. Starboard Side = right-hand side of a ship when you are on board and facing forward toward the bow. I’m going to tell you a not-so-well-known event about some fortunate luck the RMS Titanic had (yes, it could have been much worse), the lifeboat dilemma, and a couple of personal stories.
The coal fire. Before the iceberg ever struck RMS Titanic, a smoldering coal fire had been burning in one of the ship’s starboard coal bunkers, something not uncommon on steamships of the era (she had stops in Cherbourg, France, and Queenstown (now Cobh), Ireland before moving to the open Atlantic). To control it, stokers spent a couple of days shoveling an estimated 300 tons of coal from the starboard side over to the port side, a backbreaking task done in intense heat below deck. That weight shift reportedly gave the ship a slight port list (list = leaning) even before the voyage settled into the Atlantic. When the iceberg opened the starboard side to the sea, some historians believe that extra coal weight on the port side briefly helped counter the incoming flooding, slowing the list to starboard for a short time and giving the ship a little more balance during the early stages of the sinking. They did a computer simulation, and the computer said it should have sunk in 90 minutes. Then they entered the coal being moved, then the computer said it would take 3 hours, or 180 minutes. It really took 160 minutes, more on that with the next post.
When the call came for women and children first, there weren’t many wanting to do that. Lowering lifeboats was dangerous at that time, and many people have been killed doing that. You are 80 feet or so up in the air, being lowered into cold and darkness. It was incredibly dark on that moonless night. They had only the stars and the ship’s lights over the Atlantic.
Life Boats. One thing that I didn’t understand was why the Titanic didn’t have enough lifeboats for the people she carried. The maritime law at the time was based on the ship’s tonnage. The Titanic had more lifeboats than she needed by law. Also, the Titanic was built so you could cut her into 3 sections and she would float (so she was a lifeboat as well), but that was without damaging 5-6 compartments. Back then, lifeboats were there to ferry people between the sinking ship and a rescue ship. They were not meant to be boats that people would stay on for hours or days in the Atlantic. They were also fortunate that the ocean was calm that night, not usual for the Atlantic. These were not light fiberglass boats; they were heavy wooden boats, weighing almost 6 tons with all of the equipment!
They had 20 lifeboats (The 20 boats consisted of 14 standard wooden boats, two emergency cutters, and four collapsible boats), and they didn’t even get all of those off properly. Remember, they were lowered by davits (crane-like devices used on ships to support, raise, and lower equipment such as boats, anchors, or dinghies). The Titanic gave them 160 minutes, which, compared to other shipwrecks, is quite a bit of time. What they needed more than anything was more time. I’m not saying that it would be a bad thing to have enough lifeboats. But when you think about it, launching those boats back then from so high up (around 80 feet) was not easy. Imagine being lowered into complete darkness up 80 feet. That is why passengers didn’t want to leave the warm ship to freeze in the Atlantic. They still thought the Titanic would not sink. It took so long that it drew people into a false sense of security. There were so many ships in the shipping lanes that they thought another ship would be close by and they would have enough time. That night, the Californian was 20 miles away at most (Titanic’s crew saw the ship and kept signaling), but their Marconi (radio operator) operator had gone to bed, and Titanic’s pleas were not heard by them. It was heard by the Carpathia (further away), which came to the Titanic’s rescue, but she didn’t get there until around 4am the next morning. They picked up the survivors, but that is it. The Titanic struck the iceberg at 11:40 pm on April 14, 1912, and sank at 2:20am on April 15, 1912.
So yes, I do believe more lifeboats would be a good idea, but more training and also passenger drills would have made a huge difference. You must remember, though, when a ship is listing to one side badly, you have to use the other side to lower boats, which wipes out half of your lifeboats on the up high side. Now they have made davits that will handle the listing, I’m happy to say.
Personal Story: Charles Joughin (one of my favorites) was the chief baker aboard the Titanic, and his story became one of the most unusual survival accounts from the disaster. He knew he would not take a lifeboat seat, but he was going to help as many as possible and feel good at the same time. He didn’t give up, but knew what could happen. After the ship struck the iceberg, Joughin helped load women and children into lifeboats and threw deck chairs overboard so people in the freezing water might have something to cling to. Unlike many passengers who panicked, he stayed busy and calm as the ship’s final moments approached… Well, yes, he stayed calm and warm because, in between helping women and children, Mr Joughin would go to his cabin for shots of whiskey. When the final lifeboats departed, Joughin remained calm and rode the Titanic down like an elevator. Witnesses confirmed this. Luckily for him, there was no big suction from the stern going down. He was the last one to get off the stern as it plunged. He was picked up by a lifeboat and survived! He wasn’t falling down drunk, but he was highly buzzed, and he said he didn’t feel the 28-degree water and stayed in the water longer than most. Others say he was in the water longer than most that lived. He did a great job and saved a lot of lives.
Charles did everything he could, like sending bread to the lifeboats, helping to load people into them, throwing wooden chairs into the water for floatation devices, and still having time for a drink or two or three.
Personal Story: Fashion buyer and journalist Edith Rosenbaum (an older Edith in the 1970s above) boarded the RMS Titanic in first class after covering fashion collections in Europe, carrying with her a small toy pig music box given by her mother for good luck. When the ship struck the iceberg on April 14, 1912, Rosenbaum at first resisted leaving her cabin, worried about her belongings, but a crew member reportedly insisted she get into Lifeboat No. 11. She got the crew member to go get her toy pig. Finally, the crew member had to throw the pig into the boat just so that Edith would get in. The pig was a small mechanical music box that played the tune “La Maxixe.” During the long hours in the freezing Atlantic, she wound it up to calm frightened passengers and children in the lifeboat. Rosenbaum survived the disaster and later credited the pig with helping keep spirits up during the ordeal. The toy itself survived as well, becoming one of the more personal artifacts connected to the sinking of the Titanic.
No authenticated, fully intact lifeboats from the Titanic are known to exist today. Of the 20 boats, 13 were brought to New York by the Carpathia, where they were stored briefly, stripped for souvenirs, and likely broken up, sold, or re-purposed for other White Star Line vessels by 1913. Some plaques that went on them still exist, as shown above.
If you get really interested in the Titanic, I recommend two YouTube channels. These young guys are historians and have a huge passion. You have Mike Brady from Oceanliner Designs and Sam Pence from Historic Travels. Mike is very professional and personable. Sam is very personable and professional. Both are ship fans, especially the old steamer liners. I get lost in their YouTube sites.
If you want to see where we are…HERE is a list of the episodes.
Hard to believe…we are over halfway through. Checkmate is one of my favorites. This episode drops Number Six into one of the Village’s more elaborate games, a human chess match where the residents are sorted into opposing sides. The setup looks like a harmless diversion, but the rules are social as much as they are strategic. People are pushed into roles, told who their allies are, and encouraged to treat the other side as the enemy. Number Six plays along long enough to understand the board, but he’s really watching how quickly the Village can turn a crowd into pieces.
It starts with a strange human chess game in the Village, where people stand in for the pieces and obey the moves given to them. Number Six notices that the “queen” seems different from the others; she still has some independent spirit. He later learns from the old chess master that in the Village, people can be divided into two groups: those who obey and those who command. Number Six thinks that idea might help him find allies for an escape.
He begins testing people to see who still has a will of their own. He gathers a small group, including the Rook and a few others, and they build a raft in secret. The plan is to slip away by sea, but the Village is always built on suspicion. The problem is not just the guards or Rover; it is trust. Number Six believes he has found the difference between prisoners and collaborators, but the Village turns that against him.
Number Six tries to break that rhythm of the village by talking to both sides, refusing to treat the other group as less human. He looks for weak points in the setup, not just to win the game, but to prove the whole thing can be disrupted if people stop obeying the script.
The rook and Number 6 devise an escape plan, and this time, the rook is not really a stooge of the village…but he was suspicious, just like Number 6, which didn’t help with the plan. The chessboard is a symbol, but the message is clear: keep people separated, keep them competing, and they won’t unite against the ones running the game. In the Village, even play is a trap, and every move is watched, but he keeps aiming for the one move they can’t plan for, refusing to be just another piece. Be Seeing You!
Back in the ’80s, I remember seeing this band on SNL. Of course, the big thing at the time was that Page and Plant were working together again, although not with Zeppelin. I loved their sound, and I went out and bought the single Sea Of Love.
You know what I liked most about these recordings by the Honeydrippers? Rather than modernizing the song, they kept the arrangement close to the spirit of the original. The horns, piano, and guitar all feel like a small-club sound. It doesn’t have a huge, polished studio production.
This song was first written and recorded by Roy Brown in 1949. Brown’s version had that jump-blues energy that helped bridge swing music into early rock and roll. Roy’s original version peaked at #13 on the US R&B charts. Little Richard has mentioned Roy Brown as a huge influence.
I first really found out about Plant and his love of rockabilly through The Concert of Kampuchea. He sang the Elvis song Little Sister with Rockpile. Great performance of that song. So, when I heard the Honeydrippers, it sounded totally in place. Robert Plant had been talking for years about his love of early R&B and jump blues, the records he grew up with before Led Zeppelin. The Honeydrippers project gave him a way to step outside Zeppelin’s shadow and record the kind of songs that first got him interested in music.
The band’s floating members were incredible. Robbie Blunt was one, and he did a lot of great work on Plant’s solo music. To me, his guitar playing was just as identifiable as Plant’s voice; it was that important in Plant’s music. I would say the same thing about James Wisely, whose guitar playing was just as important to Chris Isaak. Other members included Jimmy Page, Jeff Beck, Nile Rodgers, Brian Setzer, Paul Shaffer, and many more. Talent was not an issue for this band.
Their album The Honeydrippers: Volume One peaked at #4 on the Billboard Album Charts, #40 in Canada, and #56 in the UK in 1984. The song peaked at #25 on the Billboard 100 and #18 in Canada.
A concert by The Honeydrippers
Rockin’ At Midnight
Have you heard the news? There’s good rockin’ at midnight Oh, I’m gonna hold my baby With all my might What a wonderful time we had that night Hey, hey, there’s good rockin’ at midnight
Have you heard the news? There’s good rockin’ at midnight Oh, I’m gonna hold my baby With all my might What a wonderful time we had that night Hey, hey, there’s good rockin’ at midnight
Now, sweet Charlie Brown and sweet Lorraine They got caught on Caledonia’s land Sioux City Sue, she told it all Those fellas got drunk and they had a ball Crying hey, hey Good rockin’ at midnight
Well, two times
Well, I tell y’all about now Deacon John He got so high they had to take him home Hear the news about Ella Brown He stole a chicken and he ran out of town Hey, hey, there’s good rockin’ at midnight
Caledonia got drunk and grinning like a pig She fell down and she lost her wig Charlie Brown she laughed and she got sick Caledonia got mad and grabbed a brick Crying hey, hey, there’s good rockin’ at midnight
Oh now let’s go two times
Oh yeah
Oh yeah, wanna tell you all about now Deacon John He got so high they had to take him home Here’s the news about Ella Brown He stole a lot of chickens and he ran out of town Crying hey, hey there’s good rockin’ at midnight
Now, now, now Caledonia got drunk and grinning like a pig She fell down and lost her wig Charlie Brown she laughed and she got sick Caledonia got mad and grabbed a brick Crying hey, hey there’s good rockin’ at midnight
Uh, mm, rock Gonna rock Gonna rock Gonna rock Gonna rock Gonna rock Gonna rock
Well yeah I’m gonna rock Gonna rock We gonna rock Ooh-hoo yeah we’re gonna rock We’re gonna rock There’s still rockin’ at midnight, midnight, midnight, midnight, yeah oh
Let’s go out ah
Now sweet Charlie Brown and sweet Lorraine They got caught on Caledonia’s land Soon pretty soon they told it all Those girls got drunk and they had a ball Crying hey, hey there’s good rockin’ at midnight
We gonna rock We gonna rock Yeah-es we gonna rock Now, now, now we gonna rock We gonna rock Ooh-ah-yeah Ooh yeah Ooh yeah
It’s always great to hear Gram Parsons solo, with the Byrds, or with the Flying Burrito Brothers. I’ve heard of these guys but never listened to them. I’m happy I did now. It’s the so-called country rock, but with harmonizing that sounds great.
They were one of those bands that existed for only a short time but left a legacy. They formed in Los Angeles in 1966, and the band was built around singer, songwriter, and guitarist Gram Parsons. Parsons was interested in mixing traditional country music with rock, soul, and folk, long before the style had a name. At a time when psychedelic rock was dominating California, they were heading in the opposite direction. They were more toward pedal steel guitars and country storytelling.
The original lineup shifted a few times, but the best-known version included Parsons alongside bassist Chris Ethridge, guitarist John Nuese, and drummer Jon Corneal. The group played clubs around Los Angeles during a period when country music was still looked down on by much of the rock crowd. Parsons admired artists like George Jones and Merle Haggard, and he wanted to bring that sound into a younger rock audience. The band shared stages with folk-rock and psychedelic acts while carving out a different identity.
In 1968, the band released its only album, Safe at Home. Though it did not sell well at the time, the record later became recognized as an early blueprint for country rock. By the time the album arrived, Parsons had begun drifting toward The Byrds, where he would push country influences even further on Sweetheart of the Rodeo.
Years later, he revisited this song during his solo period, and it became one of the songs most tied to him. It also found new life when Emmylou Harris recorded it for her 1977 album Luxury Liner, helping introduce it to a wider audience.
Luxary Liner
Well a luxury liner, forty tons of steel If I don’t find my baby now then I guess I never will
I’ve been a long lost soul for a long long time I’ve been around, everybody ought to know what’s on my mind You think I’m lonesome? So do I, so do I
Well I’m the kind of guy that likes to make a livin’ runnin’ ’round And I don’t need a stranger to tell me that my baby’s let me down You think I’m lonesome? So do I, so do I
Well a luxury liner, forty tons of steel No one in this whole wide world can change the way I feel
I’ve been a long lost soul for a long long time I’ve been around, everybody ought to know what’s on my mind You think I’m lonesome? So do I, so do I