Who – Join Together

Great Who track that builds up through the song. The song peaked at #17 in the Billboard 100 in 1972.

Pete Townshend wrote the song in 1970 for his Lifehouse project, a Rock Opera that never came to be. Many of the songs Townshend wrote for Lifehouse ended up on the 1971 Who’s Next album. “Join Together” was recorded for the album, but didn’t make the cut. Instead, it was released as a single in the summer of 1972. Townshend has cited the song as one of his favorites, telling Melody Maker he thought it was “incredible” and was surprised the public didn’t like it as much as he did.

Roger Daltrey on Join Together:  “I remember when Pete came up with ‘Join Together,’ he literally wrote it the night before we recorded it. I quite like it as a single, it’s got a good energy to it. But at that time I was still very doubtful about bringing in the synthesizer. I just felt that with a lot of songs we’d end up spending so much time creating these piddly one-note noises that it would’ve been better just doing it on a guitar. I mean, I’m a guitar man. I love the guitar; to me it’s the perfect rock instrument. I don’t think Pete did much with those sequencing things that he couldn’t have done on the guitar anyway.”


From Songfacts

A call to “join together with the band” seemed a little out of character for The Who, and especially Pete Townshend, who famously threatened to kill anyone who came on stage during their Woodstock performance. Taken less literally, it makes more sense as a plea to young people, urging them to unite and take action.

This was a live favorite for The Who. On their 1975-’76 tour, which included the largest indoor concert ever played to that point (70,000 at the Pontiac Silverdome in Michigan on December 6, 1975), they would play a slower version of the song as part of a jam that often included “Naked Eye,” “Roadrunner” and “My Generation.”

Pete Townshend created the intro using an ARP synthesizer, which he also used on “Who Are You?” Townshend, who was very good with keyboards, also used an organ on the track, a Lowrey Berkshire TBO-1. This instrument also shows up in “Baba O’Riley” and “Won’t Get Fooled Again.” When The Who performed the song live, the intro was played on a Jew’s harp by both lead singer Roger Daltrey and drummer Keith Moon.

Townshend also used two different harmonicas on the track: a chord harmonica and a bass harmonica (played live by bassist John Entwhistle).

In 2008, Nissan used this in commercials for their Maxima model. The concept was the practicality and sportiness joining together in the vehicle. In the ’00s, The Who made many licensing deals, opening the floodgates for their music to be used in movies, commercials and TV shows.

Join Together

When you hear this sound a-comin’
Hear the drummer drumming
Won’t you join together with the band
We don’t move in any ‘ticular direction
And we don’t make no collections
Won’t you join together with the band

Do you really think I care
What you eat or what you wear
Won’t you join together with the band
There’s a million ways to laugh
Ev’ry one’s a path
Come on and join together with the band

Everybody join together
Won’t you join together
Come on and join together with the band
We need to join together
Come on join together
Come on and join together with the band

You don’t have to play
You can follow or lead the way
Oh won’t you join together with the band
We don’t know where we’re going
But the season’s right for knowing
Oh won’t you join together with the band

It’s the singer not the song
That makes the music move along
Oh won’t you join together with the band
This is the biggest band you’ll find
It’s as deep as it is wide
Come on and join together with the band

Join together
(Ev’rybody come on) join together
Join together with the band
Join together
(Ev’rybody come on) join together
Join together with the band

Robbie Robertson – The Weight…Around the World

Playing For Change, a global nonprofit which helps provide music education to young people around the world has just released a collaborative version of Robbie Robertson‘s “The Weight,” the classic song recorded by The Band in 1968 for their debut album, Music From Big Pink


Allman Brothers – Statesboro Blues

This song is what got me into the Allmans. Duane’s slide in the intro is all I needed to hear. The song was written by Blind Willie McTell who recorded it in 1928.

The Allman’s released it in 1971 on the Fillmore East Album.

From Gregg’s book…In around1967-68 Gregg Allman had upset his brother Duane and then Duane caught a cold or flu.

Gregg brought Duane a Taj Mahal album that included this song…this was before the Allman Brothters was formed. He bought Duane some Coricidin medicine for his cold and Duane had never played slide before…he took the medicine out of the bottle and used it for a slide…the rest is history.

Gregg Allman: So he kissed me on the cheek, and he said, “Man, that record you brought me is out of sight. There’s a guy called Jesse Ed Davis on there, this Indian dude, and he plays guitar with a damn wine bottle. Dig this.”
And then I looked on the table and all these little red pills, the Coricidin pills, were on the table. He had washed the label off that pill bottle, poured all the pills out. He put on that Taj Mahal record, with Jesse Ed Davis playing slide on “Statesboro Blues,” and starting playing along with it. When I’d left those pills by his door, he hadn’t known how to play slide. From the moment that Duane put that Coricidin bottle on his ring finger, he was just a natural.
Looking back on it, I think that learning to play slide was a changing moment in his life, because it was like he was back in his childhood—or maybe not his childhood, because it never seemed to me like Duane was a child, so it was more like going back to his first days of playing the guitar. He took to the slide instantly, and mastered it very quickly. He practiced for hours and hours at a time, playing that thing with a passion—just like he did when he first learned to play the guitar.

From Songfacts

This was played in sets by Hour Glass, one of the first bands Duane and Gregg Allman formed.

The band performed this at Duane Allman’s funeral, with Dickey Betts playing Duane’s guitar.

After Duane’s death, Betts played the slide guitar on this at concerts. He was reluctant to do so because he did not want to compete with Allman’s legend.

A previously unreleased studio version appears on their 1989 5-disk box set Dreams.

At the end of Duane Allman’s guitar solo, he hit an off-key note that his brother Gregg called the “note from hell.” The song made the album warts and all, as these things happen during live performances.

Statesboro Blues

Wake up momma, turn your lamp down low
Wake up momma, turn your lamp down low
You got no nerve baby, to turn Uncle John from your door

I woke up this morning, I had them Statesboro Blues
I woke up this morning, had them Statesboro Blues
Well, I looked over in the corner, and Grandpa seemed to have them too

Well my momma died and left me
My poppa died and left me
I ain’t good looking baby
Want someone sweet and kind

I’m goin’ to the country, baby do you want to go?
But if you can’t make it baby, your sister Lucille said she wanna go

I love that woman, better than any woman I’ve ever seen
Well, I love that woman, better than any woman I’ve ever seen
Well, now, she treat me like a king, yeah, yeah, yeah
I treat her like a doggone queen

Wake up momma, turn your lamp down low
Wake up momma, turn your lamp down low
You got no nerve baby, to turn Uncle John from your door


Star Trek: The Animated Series

I remember this series in the ’70s but I didn’t know much about Star Trek at that time. I started to watch the series a couple of years ago and it is really good. They were able to have more creatures and effects than the original series because of being limited in the effects they could use in the sixties with live-action.

Star Trek: The Animated Series by Filmation premiered in 1973 as a Saturday morning cartoon – four years after The Original Series’ final season.  The series only produced 22 episodes and featured characters voiced by their original actors. It was the first Star Trek series to win an Emmy Award. It would run from 1973-1974

Gene Roddenberry did have full creative control over the series. Not only were the original members involved but the show introduced new crew members with a few alien ones.

The cartoon featured the first appearance of the Holodeck, which would later be used in Star Trek: The Next Generation.

One episode gave fans a deeper look into Spock’s troubled childhood, where he’s bullied for not being a full-blooded Vulcan. This episode’s story was so compelling that decades later filmmaker J.J. Abrams used the same details about Spock for his 2009 movie reboot.

As if I needed another reason to admire Leonard Nimoy…from wiki: Filmation was only going to use the voices of William Shatner, Leonard Nimoy, DeForest Kelley, Doohan and Barrett. Doohan and Barrett would also perform the voices of Sulu and Uhura. Nimoy refused to voice Spock in the series unless Nichelle Nichols and George Takei were added to the cast, claiming that Sulu and Uhura were proof of the ethnic diversity of the 23rd century and should not be recast. Nimoy also took this stand as a matter of principle, as he knew of the financial troubles many of his Star Trek co-stars were facing after the cancellation of the series.

Walter Koenig was the only original member not included because of money but because of Nimoy…the show did buy a script from Koenig so he would be paid also.

If you are a Star Trek fan you will enjoy this. Youtube has some complete episodes if you want to search. Amazon also has the series on DVD.




For more info:


Joe Walsh – A Life Of Illusion

This song peaked at #34 in the Billboard 100 in 1981. The album There Goes the Neighborhood peaked at #20 in 1981.

This song began as an instrumental track written by Kenny Passarelli when he was the bass player in Joe’s band Barnstorm, which was active from 1972-1974. Barnstorm never released it, but Walsh and Passarelli worked it up for Walsh’s first solo album, The Smoker You Drink, the Player You Get, in 1973, with Walsh adding the lyrics…but it didn’t make it on the album.

Passarelli shopped it around, pitching it to Elton John and Hall and Oates. When Walsh was working on this album, he and Passarelli worked with the song again and it was released.

From Songfacts

Life’s been good to Joe Walsh, but what’s it all about? Sometimes it seems like life is just an illusion, and just when you start to comprehend it, it hits you right between the eyes.

Many musicians of his era looked to gurus or other zen masters to figure it all out, but Walsh seems to have sorted it out in this song, where he concludes that letting it all get to you is a waste of your day.

The Mariachi trumpets, played by the song’s co-writer Kenny Passarelli in what Walsh described as “a drunken stupor,” are nonsensical in a way that suits the song perfectly. Why are they there? Well, why are any of us here?

The phrase “a life of illusion” was used three years earlier in the title track to the film Grease, where Frankie Valli sings:

This is the life of illusion
Wrapped up in trouble
Laced with confusion

That song was written by Barry Gibb of the Bee Gees.

This was featured in the opening credits of the 2005 movie The 40 Year Old Virgin. It also appears in the 2010 movie Grown Ups and in the 2010 CSI: Miami episode “L.A.”

Life Of Illusion

Sometimes, I can’t help but feeling that I’m
Living a life of illusion
And oh, why can’t we let it be
And see through the hole in this wall of confusion
I just can’t help but feeling I’m living a life of Illusion

Pow, right between the eyes
Oh how nature loves her little surprises
Wow, it all seems so logical now
It’s just one of her better disguises
And it comes with no warning, nature loves her little surprises
Continual crisis

Hey, don’t you know it’s a waste of your day
Caught up in endless solutions
That have no meaning
Just another hunch, based upon jumping conclusions
Backed up against a wall of confusion
Caught up in endless solutions
Living a life of illusion

Rolling Stones – Bitch

Yeah when you call my name, I salivate like a Pavlov dog…One of the raunchiest riffs around. Combine that with the lyrics and you have a great little rock song. This is the Stones at the top of their game.

This song was the B side to Brown Sugar. Not a bad deal for your money. It’s another great song off of the Sticky Fingers LP. Here is a review of Sticky Fingers at Aphoristic’s site.

Below Andy Johns talks about the importance of Keith Richards…no matter if he was tardy a few times.

Andy Johns engineer: When we were doing “Bitch,” Keith was very late. Jagger and Mick Taylor had been playing the song without him and it didn’t sound very good. I walked out of the kitchen and he was sitting on the floor with no shoes, eating a bowl of cereal. Suddenly he said, Oi, Andy! Give me that guitar. I handed him his clear Dan Armstrong Plexiglass guitar, he put it on, kicked the song up in tempo, and just put the vibe right on it. Instantly, it went from being this laconic mess into a real groove. And I thought, Wow. THAT’S what he does

Bitch was written by Mick Jagger and Keith Richards, “Bitch” was recorded during October 1970 at London’s Olympic Studios, and at Stargroves utilizing the Rolling Stones Mobile studio.

From Songfacts

Love is the “bitch,” not any specific woman. Mick Jagger had many relationships he could base this on, including his breakup with Marianne Faithfull. He broke up with her after she tried to commit suicide while they were in Australia in late 1969 (Mick was filming Ned Kelly). As soon as Marianne recovered, Mick dumped her.

The Stones recorded this song, and many others on the album, at the Stargroves estate in Hampshire, England, using their mobile recording unit manned by engineer Andy Johns.

Despite (or maybe because of) the rather provocative title, this became one of the more popular Rolling Stones songs, often appearing in their setlists. It wasn’t released as a single but got plenty of play on rock radio.

In 1974, Elton John broke the “bitch” barrier on pop radio with “The Bitch Is Back,” which went to #4 in the US.

Along with “Under My Thumb,” this didn’t help the Stones’ image with women’s groups.

The album cover was designed by Andy Warhol. It was a close-up photo of a man in a pair of jeans complete with an actual zipper. The zipper caused problems in shipment because it scratched the record. They figured out that if they opened the zipper before shipment, it did minimal damage.

Speaking with Rolling Stone, Keith Richards said: “It comes off pretty smooth, but it’s quite tricky. There’s an interesting bridge you have to watch out for. Otherwise, it’s a straightforward rock and soul that we love. It’s Charlie Watts’ meat and potatoes.”

This features Bobby Keys on sax and Jim Price on trumpet. They provided horns on albums and tours for The Stones in the early ’70s.

The Goo Goo Dolls covered this in 1997 on the compilation album No Alternative.

The album title Sticky Fingers refers to the aptitude of a person who is likely to steal. It went well with the lawless image The Stones put forward.


Feeling so tired, can’t understand it
Just had a fortnight’s sleep
I’m feeling so tired, I’m so distracted
Ain’t touched a thing all week

I’m feeling drunk, juiced up and sloppy
Ain’t touched a drink all night
I’m feeling hungry, can’t see the reason
Just ate a horse meat pie

Yeah when you call my name
I salivate like a Pavlov dog
Yeah when you lay me out
My heart is beating louder than a big bass drum, alright

Yeah, you got to mix it child
You got to fix it must be love
It’s a bitch, yeah
You got to mix it child
You got to fix it but love
It’s a bitch, alright

Sometimes I’m sexy, move like a stud
Like kicking the stall all night
Sometimes I’m so shy, got to be worked on
Don’t have no bark or bite, alright

Yeah when you call my name
I salivate like a Pavlov dog
Yeah when you lay me out
My heart is bumpin’ louder than a big bass drum, alright

I said hey, yeah I feel alright now
Got to be a
Hey, I feel alright now
Hey hey hey
Hey hey yeah
Hey hey hey
Hey hey yeah
Hey hey hey
Hey hey yeah
Hey hey hey
Hey hey yeah
Hey hey hey

John Waite – Missing You

John Waite was inspired by Glen Campbell’s Wichita Lineman while writing this song. The song peaked at #1 in the Billboard 100, #1 in Canada, #9 in the UK and #18 in New Zealand in 1984.

The songwriters Mark Leonard and Charles Sandford wrote the music for this song. Sandford also wrote the Stevie Nicks hit “Talk To Me” and co-wrote “What Kind Of Man Would I Be?” for Chicago. Leonard wrote the music for the 1986 movie Back To School and also co-wrote “Let Me Be The One,” which was recorded by Terri Nunn. John Waite wrote the lyrics. He was going through troubles with his wife and they soon would get divorced.

John Waite: I was getting divorced. I was trying to get home because my marriage was in genuine trouble – everything was wrong and it had been wrong for a while. I’d met someone in New York City when I was making my first solo album. I was alone and I was friends with another girl I met. So Missing You was essentially about three different women, I think, looking back on it. I was singing about New York, and distance, the caving in of my marriage, and the options that I had. It was bittersweet – it was about the end of my marriage and the beginning of something new. Although, when I was singing ‘I ain’t missing you’, it was denial too.

From Songfacts

This song came at a very emotional time for Waite, who lays down his burdens in his sentimental lyrics and passionate vocal performance. In our interview with John Waite, he explained that the song was about a phone call.

Waite got married in his native England before moving to New York, where he recorded his first solo album, Ignition, which was released in 1984. The album was a disappointment, and after some squabbles with his record company (Chrysalis), he returned to England and settled into married life. After extricating from his contract, he signed a new deal with EMI and returned to New York, leaving his wife behind while he made his second album, No Brakes.

“My wife was a long way away,” Waite said in a Songfacts interview. “There were quite a few women in my life at the time, and it all came sort of floating to the top.”

Waite’s feelings poured out of him in the song – on one level, he missed his wife dearly, but on a more superficial plane he didn’t miss her at all, which is what he sang on the refrain: “I ain’t missing you at all.”

The song encapsulates the disconsolation that comes with long distance love. Waite and his wife would later divorce.

One of the more memorable parts of this song happened spontaneously. Said Waite: “I had no idea I was going to sing, ‘Missing you, since you’ve been gone away, I ain’t missing you no matter what my friends say.’ I had no idea I was going to sing that, and when it came out, it floored me. I stood back from the mic, and I thought, ‘F–k it. Number 1.’ I just knew. I just knew in my heart that it was that good.”

Tina Turner took this song to #12 in the UK when she recorded it on her 1996 album Wildest Dreams. Around the same time, the soul singer Millie Jackson also recorded the song, but Turner released her version first. Jackson told us: “I recorded ‘Missing You’ And I was all excited about it, it was gonna be my next single, and the guys at Muscle Shoals said, ‘Boy you got the song out quick! I heard it at a truck stop.’ And I’m trying to figure out how in the world did they hear my song at a truck stop when it won’t be out for two weeks. And of course it was Tina Turner and we had to pull the single and come back with a different one.”

John Waite was the lead singer of a group called the Babys, whose 1978 song “Every Time I Think Of You” reached #13 in the US. Waite cribbed a lyric from that song (which was written by the songwriters Jack Conrad and Ray Kennedy) to get him started on “Missing You.” Compare the opening lyrics to these songs:

“Every Time I Think Of You” – “Every time I think of you, it always turns out good.”
“Missing You” – “Every time I think of you, I always catch my breath.”

Once he had the first line, the rest of the lyrics flowed downhill, and the rest of it was written in about 10 minutes. Waite told Songfacts: “I sang the whole first verse, bridge, and chorus without stopping. Then I had to stop, I was so overwhelmed. I stood back from the mic and I couldn’t speak. Then I just rolled the tape again and got on with it.”

Some of the symbolism in this song was inspired by Glen Campbell’s “Wichita Lineman” and Free’s “Catch A Train.” Both songs depict lonely scenarios far from a loved one.

The song was a last-minute addition to the album, but Waite had no trouble convincing his crew that it needed to be on the tracklist. “I took the tape down to the guys in the studio who were mixing, thinking the record was finished, and I knew it wasn’t, since we didn’t have ‘Missing You,'” he told us. “I played it in the control room and everybody stopped talking. It had that effect on people from the word go. It was one of those songs that defined a decade, really. It was one of the biggest. I think it’s been played about 9, 10 million times on American radio – it’s a huge thing.”

The video was in hot rotation on MTV, which helped the song climb to #1 in the US. In the clip, Waite gives a tortured performance, but what he was feeling at the time was more anxiety than heartbreak. “You can tell how shy I was at the time,” he told us. “I’m trying to sing this song and sort of look at the camera and then not look at the camera. I’m embarrassed, you know. I mean, it’s okay being on stage, because you’re in some sort of persona. But being filmed was a new experience for me on that level. I suppose it was kind of charming. But there was a million places I would rather be than being filmed at that point in my life.”

Kort Falkenberg III, who also did Waite’s video for “Change,” directed the clip. It was shot in downtown Los Angeles near Pershing Square. “The biggest thing I remember about ‘Missing You’ is that the night before I went down to Let It Rock, which was a clothes store on Melrose Avenue,” said Waite. “I bought a Johnson suit, this black two-piece suit from London that was a beautiful suit. Tiny. I was very thin at the time. And then I went and had all my hair shaved off. I thought, ‘If I’m going to do this, I’m going to go in whole hog, you know. I’m just going to do it flat out European.’

I showed up with a black suit and a crew cut, and it worked. I do everything on instinct, basically, and half of the time it’s a bullseye.”

Waite performed this on the short-lived ABC TV series Paper Dolls in 1984.

This was used in second episode of Miami Vice, “Heart of Darkness,” which aired September 28, 1984. At the time, it was the #1 song in America, landing at the top on September 22. Miami Vice spent big bucks on music and used many contemporary songs throughout the series’ five-year run. Exposure on the show also helped the artists because the show was undeniably cool. Phil Collins got the biggest boost when “In The Air Tonight” featured in the first episode.

Missing You

Everytime I think of you
I always catch my breath
And I’m still standing here
And you’re miles away
And I’m wonderin’ why you left

And there’s a storm that’s raging
Through my frozen heart tonight

I hear your name in certain circles
And it always makes me smile
I spend my time thinkin’ about you
And it’s almost driving me wild

And there’s a heart that’s breaking
Down this long distance line tonight
I ain’t missing you at all (Missing you)
Since you’ve been gone away (Missing you)
I ain’t missing you (Missing you)
No matter what I might say (Missing you)

There’s a message in the wire
And I’m sending you this signal tonight
You don’t know how desperate I’ve become
And it looks like I’m losing this fight
In your world I have no meaning
Though I’m trying hard to understand

And it’s my heart that’s breaking
Down this long distance line tonight
I ain’t missing you at all (Missing you)
Since you’ve been gone away (Missing you)
Oh hey, I ain’t missing you (Missing you)
No matter what my friends say (Missing you)

And there’s a message that I’m sending out
Like a telegraph to your soul
And if I can’t bridge this distance
Stop this heartbreak overload
I ain’t missing you at all (Missing you)
Since you’ve been gone away (Missing you)
I ain’t missing you (Missing you)
No matter what my friends say (Missing you)

I ain’t missing you (Missing you)
I ain’t missing you, I can’t lie to myself (Missing you)

And there’s a storm that’s raging
Through my frozen heart tonight
I ain’t missing you at all (Missing you)
Since you’ve been gone away (Missing you)
I ain’t missing you (Missing you)
No matter what my friends say (Missing you)

Ain’t missing you
I ain’t missing you
I ain’t missing you,
I can’t lie to myself
Ain’t missing you
I ain’t missing you
I ain’t missing you
I ain’t missing you
I ain’t missing you
I ain’t missing you
Ain’t missing you, oh no

No matter what my friends might say
I ain’t missing you