Drums… one of the loudest, widest drum sounds I have ever heard. The song just rolls through you. The song was from the classic Led Zeppelin IV album. John Bonham’s drums were recorded in a stairwell at Headley Grange with the microphones planted 3 stories up. The drum sound echoed up and was captured on the mics, creating a very distinctive sound.
The song started as a 1929 blues recording by Memphis Minnie and Kansas Joe McCoy, written after the Great Mississippi Flood of 1927 devastated parts of the South. Jimmy Page and Robert Plant took that old blues foundation and turned it into something darker and heavier during the sessions in 1971. The band recorded much of it at Headley Grange, the old English house where Zeppelin liked to work away from the pressure of traditional studios. I will say that Zeppelin did credit these writers.
Jimmy Page slowed the tape slightly during mixing, which gave Bonham’s drums even more weight and made the whole track feel thick. John Paul Jones added bass, harmonica, and subtle touches underneath it while Plant delivered the vocal almost like a warning coming through a storm. Page also layered slide guitar and backward effects across the track, giving it that swampy and almost haunted feeling. Even after dozens of listens, the recording still sounds huge. I do think it’s interesting that Page used his Danelectro guitar for the slide guitar part. A Danelectro is a cheap guitar (I have two), but they give you a unique metallic sound. He also used one on Kashmir.
The band turned it into one of the heaviest tracks of the early 1970s without relying on speed and huge guitar. Hip-hop producers later sampled Bonham’s drum intro because nothing else sounded quite like it. Artists from the Beastie Boys to Dr. Dre borrowed pieces of it. That showed how far the song traveled past classic rock radio. The song still feels massive, like my walls are shaking every time Bonham hits the drums. Hmmm, maybe because I have the volume on 11…that helps.
Jason Bonham: “It’s the drum intro of the Gods. You could play it anywhere and people would know it’s John Bonham. I never had the chance to tell dad how amazing he was – he was just dad.”
When the Levee Breaks
If it keeps on rainin’ levee’s goin’ to break If it keeps on rainin’ levee’s goin’ to break When the levee breaks I’ll have no place to stay. Mean old levee taught me to weep and moan Lord mean old levee taught me to weep and moan Got what it takes to make a mountain man leave his home Oh well oh well oh well. Don’t it make you feel bad When you’re tryin’ to find your way home You don’t know which way to go? If you’re goin’ down South They go no work to do, If you don’t know about Chicago. Cryin’ won’t help you, prayin’ won’t do you no good, Now, cryin’ won’t help you, prayin’ won’t do you no good, When the levee breaks, mama, you got to move. All last night sat on the levee and moaned, All last night sat on the levee and moaned, Thinkin’ ’bout me baby and my happy home. Going, go’n’ to Chicago, Go’n’ to Chicago, Sorry but I can’t take you. Going down, going down now, going down going down now, going down, going down, going down, going down Going down, going down now, going down going down now, going down going down now, going down Going d-d-d-d-down Woo woo
Steve Earle signed this band to his E-Squared Records label in the 1990s. Once I heard the opening guitar, I knew this was for me. The voice followed, and it hit that alt-country sweet spot. The V-Roys came out of the mid-1990s roots-rock and alt-country scene, led by singer and songwriter Scott Miller. This is one of those bands that just are so easy to listen to. I love when they slot into that mid-90s alt-country sound.
The band formed in 1994 in Knoxville and quickly built a reputation for mixing country, rock, and Southern storytelling. They fit alongside bands like the Bottle Rockets and early Wilco. The V-Roys always seemed tied to the Tennessee backroads and small-town life. By the time they recorded All About Town in 1998, the group had tightened into a strong live band. They were originally the Viceroys, but they were forced to abandon their original name after being threatened with a lawsuit by a Jamaican reggae band that already owned the rights to it.
This song was written by Tom T. Hall. He originally released this song in 1969, and it became one of his signature songs. Instead of trying to modernize it, the V-Roys keep the original rhythm but add electric guitars and a fuller band arrangement that fits the late-1990s Americana sound without losing the song’s feel.
Steve Earle reportedly encouraged the group to trust the songs and not overplay, which worked perfectly on this one. They kept the song grounded, and it worked. That approach made the track fit naturally beside the band’s originals. The band made two studio albums in the 1990s and a compilation album in 2011. This song was an unreleased 90s track on this compilation album called Sooner or Later.
How I Got To Memphis
If you love somebody enough You’ll follow wherever they go That’s how I got to Memphis That’s how I got to Memphis
If you love somebody enough You’ll go where your heart wants to go That’s how I got to Memphis That’s how I got to Memphis I know if you’d seen her you’d tell me ’cause you are my friend I’ve got to find her and find out the trouble she’s in
If you tell me that she’s not here I’ll follow the trail of her tears That’s how I got to Memphis That’s how I got to Memphis
She would get mad and she used to say That she’d come back to Memphis someday That’s how I got to Memphis That’s how I got to Memphis
I haven’t eaten a bite Or slept for three days and nights That’s how I got to Memphis That’s how I got to Memphis
I’ve got to find her and tell her that I love her so I’ll never rest ’til I find out why she had to go
Thank you for your precious time Forgive me if I start to cryin’ That’s how I got to Memphis
When I was a kid, I dreamed of finding and raising the Titanic. I could picture what it would look like and then take her to New York. Back then, many people thought she went down in one piece. Then, in 1980, they made a movie called To Raise The Titanic. Although it wasn’t a good movie, it was fun seeing their version of the raised ship. It actually matched my naive vision. I wanted so badly to walk on its deck. I’m keeping this post a little lighter at first anyway. Along with Walter Lord’s book, I remember hearing about crazy plans to raise her. Then, we will get into something more serious.
Before it was finally found in 1985, there were many ideas about how to raise her, many of them based on guesses about where the ship was and what condition it might be in. Since nobody had seen the wreck, engineers and dreamers came up with plans that ranged from serious engineering proposals to ideas that sounded like science fiction. Because again, most people thought the ship was in one piece.
One early idea was to attach giant electromagnets to the hull and lift the ship with cables from salvage ships above. Another proposal involved filling the Titanic with ping-pong balls or petroleum jelly to create buoyancy. In the 1960s and 1970s, some suggested pumping liquid nitrogen (it would take only 500,000 tons) into the wreck to freeze the water inside and out and make the ship buoyant enough to rise. Ironically, encasing it in an iceberg! You can’t make this stuff up. Others thought about attaching enormous flotation tanks or inflatable balloons to the hull. There was also an idea to use millions of hollow glass spheres that would sink down and displace water around the ship, helping lift it from the bottom. But you had to find it first!
Even back right after she sank, there were plans to get the family’s possessions off the ship. Little did they know where it was, and nothing at that time could have got even near it. The maximum they could dive in 1912 would have been 90 to 100 meters (300–330 feet). Much shorter than the 3,800 meters (12,500 feet) it would take.
Personal Stories
Most of the male passengers who survived the Titanic had to live with the stigma of surviving the wreck. That was because people automatically thought they took a child’s or a woman’s place. The truth is, there weren’t many at all like that. People did not want to get into a lifeboat at all at first. They wanted the warmth and the lit Titanic. They were sending out boats that were not completely full. They soon let some male crew members row, and if there were no women or children around, they would let a man get in. Boys over 13 years old were considered men. The crew was not immune to this stigma either. Although no one would want to put inexperienced men, women, and children in a lifeboat in the Atlantic without an experienced hand.
Some of the crew were ridiculed by passengers when they woke them up and tried to get them on a lifeboat. The ship was never advertised as “unsinkable,” but many of the passengers believed that. The press used phrases like “practically unsinkable“. The company stated that the ships were “designed to be unsinkable as far as it is possible to do so,” and many did think it was unsinkable.
Frederick Fleet was one of the lookouts aboard the RMS Titanic and is remembered as the crewman who first spotted the iceberg that led to the sinking. Stationed in the crow’s nest with fellow lookout Reginald Lee, Fleet saw the dark shape directly ahead and rang the warning bell three times before telephoning the bridge with the famous message, “Iceberg, right ahead!” Although the officers reacted quickly by attempting to turn the ship, there was not enough time to avoid impact. Fleet survived the sinking by escaping in Lifeboat 6, but he later testified during official inquiries about the events of that night, including the absence of binoculars in the crow’s nest. Fleet struggled financially and emotionally and died by suicide in 1965 after his wife died, and he was evicted from his home at age 77 by his wife’s brother. He carried the weight of that night for decades.
Bruce Ismay was painted as the villain at the time, but not as much now. Ismay survived, and that was not what people wanted to hear. He was the chairman of the White Star Line and traveled aboard during its maiden voyage. As one of the most senior company officials connected to the ship, Ismay became controversial after surviving the sinking while many passengers and crew died. During the evacuation, he helped load lifeboats and eventually entered a collapsible boat shortly before the ship made its final plunge. After being rescued by the RMS Carpathia, Ismay faced harsh criticism in newspapers and public opinion, with many accusing him of saving himself while others stayed behind. Official inquiries found no evidence that he had disguised himself or taken a place from a woman or child, but his reputation never fully recovered. He resigned as chairman of the White Star Line and president of the International Mercantile Marine (IMM) in 1913. He lived the rest of his life close to his family, staying out of the public light as much as possible. His wife forbade anybody from bringing up the Titanic tragedy around him.
If you want to see where we are…HERE is a list of the episodes.
This is what I would call the last “normal” episode. After this, it gets confusing.
In this episode, Number Six notices something different going on in the Village. A woman comes to him about an assassination attempt, but he thinks that she was sent by the village. She actually didn’t know that the village was watching her (Number 2 admits this). At first, Six thinks it may be another trap aimed at him, but he slowly realizes there is a real power struggle happening inside the Village itself.
The planned assassination is tied to rival political factions within the Village, with some officials believing the older Number Two has become weak or ineffective. The Village leadership, which normally appears united and all-powerful, is shown here as divided and suspicious behind the scenes.
This is to happen during the “Appreciation Day” festival, a public ceremony honoring the Village leadership. Even though he has no loyalty to Number Two, Six does not want to see someone murdered as part of a political game. Patrick McGoohan plays the episode in a restrained way, with Six acting more like an investigator than a rebel this time around. All the while, trying to figure out who is behind the assassination and why everyone seems terrified to speak openly.
As Appreciation Day approaches, the Village rehearses the ceremony with the same rigid discipline seen in many Prisoner episodes. There are ceremonial banners and staged movements, masking the danger underneath. Although he has every reason to hate Number Two and the Village itself, he refuses to stand by while someone is murdered. That moral stubbornness is one of the things that separates him from the people running the Village.
The climax (and it’s a good one) comes during the Appreciation Day celebration itself, when the assassination attempt is finally carried out. Number Six manages to intervene, and there is quite a struggle. Number Six could have gotten rid of Number 2, either one of them. The end is suspenseful when the assassination is supposed to happen. It shows that even when you work for The Village, you are a target as well. Be Seeing You!
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!