Power Pop fan, Baseball, Beatles, Alternative music, old movies, and tv show fan. Also anything to do with pop culture in the 60s and 70s... I'm also a songwriter, bass and guitar player. Not the slightest bit interested in politics at all.
I’m So Glad appeared on Cream’s debut album Fresh Cream. Cream covered this song and did something that other bands (looking at you Led Zeppelin) should have done. The writer of the song was Skip James an American Delta blues singer, guitarist, pianist and songwriter who was born in 1902. Cream went out of their way to make sure that Skip received royalties off of the song.
Because of Cream’s diligence, James had at least some comfort in his last days. Skip had the opportunity to see Cream perform his song on stage before he succumbed to cancer in 1969 but his widow sent a thank you letter to Jack Bruce for covering his song.
The song didn’t chart but the album did at #39 in 1968.
I’m So Glad
[Chorus:] I’m so glad I’m so glad I’m glad, I’m glad, I’m glad
Don’t know what to do Don’t know what to do Don’t know what to do
Tired of weeping Tired of moaning Tired of groaning for you
[Chorus]
Tired of weeping Tired of moaning Tired of groaning for you
This song was one of my favorite Lennon tribute songs.
This song is a tribute to John Lennon, who was murdered in 1980. Elton John’s songwriting partner Bernie Taupin wrote the lyrics, but Elton certainly felt a connection to the song, as he was good friends with Lennon and is the Godfather of Lennon’s second son, Sean. Elton appeared onstage with John at his final concert in 1974.
Empty Garden peaked at #13 in the Billboard 100, #8 in Canada, #14 in New Zealand, and #51 in the UK in1982
Some of the other songs that are tributes to John are Queen – Life Is Real, George Harrison – All Those Years Ago, Paul McCartney – Here Today, Bob Dylan – Roll On John, and Paul Simon – The Late Great Johnny Ace.
From Songfacts
In the John/Taupin songwriting partnership, Bernie writes the lyrics first and Elton then puts them to music. When writing for the Jump Up album, Elton had some melodies handy and asked Taupin to write words to those, which he did. Taupin has described those songs as “awful” and said, “it’s a very messy album.” “Empty Garden (Hey Hey Johnny),” however, was written their traditional way with the lyrics first, and Taupin has said that it’s the only good song on the album.
When he performed this at a sold-out Madison Square Garden show in August 1982, Elton was joined onstage by Lennon’s wife Yoko Ono and Sean Lennon.
Empty Garden
What happened here As the New York sunset disappeared I found an empty garden among the flagstones there Who lived here He must have been a gardener that cared a lot Who weeded out the tears and grew a good crop And now it all looks strange It’s funny how one insect can damage so much grain
And what’s it for This little empty garden by the brownstone door And in the cracks along the sidewalk nothing grows no more Who lived here He must have been a gardener that cared a lot Who weeded out the tears and grew a good crop And we are so amazed, we’re crippled and we’re dazed A gardener like that one no one can replace
And I’ve been knocking but no one answers And I’ve been knocking most of the day Oh and I’ve been calling, oh hey hey Johnny Can’t you come out to play
And through their tears Some say he farmed his best in younger years But he’d have said that roots grow stronger, if only he could hear Who lived there He must have been a gardener that cared a lot Who weeded out the tears and grew a good crop Now we pray for rain, and with every drop that falls We hear, we hear your name
And I’ve been knocking but no one answers And I’ve been knocking most of the day Oh and I’ve been calling, oh hey hey Johnny Can’t you come out to play
And I’ve been knocking but no one answers And I’ve been knocking most all the day Oh and I’ve been calling, oh hey hey Johnny Can’t you come out, can you come out to play, Johnny Can’t you come out to play in your empty garden, Johnny Can’t you come out to play in your empty garden, Johnny Can’t you come out to play in your empty garden, Johnny Can’t you come out to play in your empty garden, Johnny Can’t you come out to play in your empty garden, Johnny Can’t you come out to play in your empty garden, Johnny
I’ve never seen IT as a horror story…I’ve seen it as a coming of age story with scary twists. I really like the novel and I wanted to see something as close as possible to the book. The book is much better than either the movie or miniseries but that is usually how it is.
I went to see IT (2017) with very high hopes. I realized before I traveled to the theater that they could never meet my expectations. My hope (and far-fetched dream) was that they would have made an HBO series of the novel. It would have been fifteen to twenty hour-long episodes. I wanted so much for the novel to come to life on screen. That wasn’t going to happen in one movie but I will say that yes I enjoyed it.
I’ve always liked Time Travel movies. I have made a list below but I’m not including the Back To The Future franchise because everyone knows about those movies. These are my top ten I’ve watched so far. Please make some more recommendations if you have any.
1, Frequency (2000) – This movie combines two loves of mine. Baseball and Time Travel… A son in modern times talks to his dad over a Ham Radio in 1969 and it revolves around details from the 1969 World Series.
2. The Time Machine (1960) – From the HG Wells book, this movie has aged well through the years. It’s a period piece at the turn of the 20th century…and also a trip into the far future.
3. I’ll Follow You Down (2013) – It’s odd to see Haley Joel Osment grown up and acting but this low budget film is a good film. Haley plays a guy named Errol who saw his father leave for the airport when he was 9 and he never came back home. A grown-up Errol looks to see what happened to his dad and finds him in the 1940s.
4. 41 (2012) – An Australian film made in 2012. Aidan accidentally kills his girlfriend in an auto accident. He hears about room 41 in a local motel and if you go to a hidden place in the room and back out…you go back 12 hours in time. He tries to go back and avoid the accident. I happen to catch this movie by accident and it was worth the watch.
5. Project Almanac (2014) – A teenager is trying to go to MIT but his family doesn’t have the money. He starts looking at his deceased father’s old inventions and gadgets to raise money. He finds a VHS tape of his 7th birthday party and in the mirror on the tape, he sees himself at the age of 18 at the party.
He finds his dad’s attempt at a time machine and finishes it. He ends up fulfilling what he saw on the tape and messes with the lives of his friends.
6. Peggy Sue Got Married (1989) – Classic 80s movie about Peggy Sue who is separated from her husband and goes to her high school reunion and passes out. She wakes up as a teenager in the early 60s.
7. Hot Tub Time Machine (2010) – A fun romp through the 80s.
8. Bill and Ted’s Excellent Adventure (1989) – This movie launched a lot of quotes. Bill and Ted learned history by going back in time. George Carlin is most excellent in this movie.
9. Time Bandits (1981) – I saw this with a friends family back in 1981 at a theater. I was excited because George Harrison was one of the Executive Producers. Kevin, a young kid gets visited in the middle of the night by six dwarves and with a special map visit places in time.
10. Time After Time (1979) – Malcolm McDowell stars in this movie as he plays Herbert George Wells and he chases Jack The Ripper through time to 1979 with his time machine.
This was Buffalo Springfield’s only top 40 hit. I’ve always liked the song, especially Neil Young’s harmonics on guitar. The album Buffalo Springfield was the band’s first album, and this song was not originally included on it. After “For What It’s Worth” became a hit single, it replaced “Baby Don’t Scold Me” on re-issues of the album.
According to BMI, the song’s publishing house, “For What It’s Worth” been played 8 million times on TV and radio since its release. In 2014, it came in at number three on Rolling Stone‘s readers poll of the best protest songs.
For What It’s Worth peaked at #7 in the Billboard 100 and #9 in Canada.
From Songfacts
Written by Buffalo Springfield guitarist Stephen Stills, this song was not about anti-war gatherings, but rather youth gatherings protesting anti-loitering laws, and the closing of the West Hollywood nightclub Pandora’s Box. Stills was not there when they closed the club, but had heard about it from his bandmates.
In the book Neil Young: Long May You Run: The Illustrated History, Stephen Stills tells the story of this song’s origin: “I had had something kicking around in my head. I wanted to write something about the kids that were on the line over in Southeast Asia that didn’t have anything to do with the device of this mission, which was unraveling before our eyes. Then we came down to Sunset from my place on Topanga with a guy – I can’t remember his name – and there’s a funeral for a bar, one of the favorite spots for high school and UCLA kids to go and dance and listen to music.
[Officials] decided to call out the official riot police because there’s three thousand kids sort of standing out in the street; there’s no looting, there’s no nothing. It’s everybody having a hang to close this bar. A whole company of black and white LAPD in full Macedonian battle array in shields and helmets and all that, and they’re lined up across the street, and I just went ‘Whoa! Why are they doing this?’ There was no reason for it. I went back to Topanga, and that other song turned into ‘For What It’s Worth,’ and it took as long to write as it took me to settle on the changes and write the lyrics down. It all came as a piece, and it took about fifteen minutes.”
Notable when you consider this song’s success, the group quietly recorded this without involving their producers Charles Greene and Brian Stone, with whom they had had immense dissatisfaction about the recording of their album up until then. Greene and Stone had insisted on recording each musician separately and then combining them later into mono to stereo tracks, which produced a tinny sound. This was the first time the group’s united performance was caught on tape. (Thanks to Dwight Rounds for his help with this. Dwight is author of The Year The Music Died, 1964-1972.)
This was used in a commercial for Miller beer. The anti-establishment message was, of course, ignored and the song was edited to avoid the line “There’s a man with a gun over there, telling you-you’ve got to beware.” The commercial replaced this line by pulling up the chorus of “Everybody look what’s going down.”
Songwriting powerhouses Jim Messina and Neil Young were also in Buffalo Springfield, but Stills wrote this song himself. Young has never allowed his songs to be used in commercials, and wrote a song bashing those who do called “This Note’s For You.”
This song helped launch the band to stardom and has remained one of the era’s most enduring protest songs, but Stephen Stills, who authored the tune, had very different feelings than many might expect. He said, “We didn’t want to do another song like ‘For What It’s Worth.’ We didn’t want to be a protest group. That’s really a cop-out and I hate that. To sit there and say, ‘I don’t like this and I don’t like that’ is just stupid.”
Public Enemy sampled this on their 1998 song “He Got Game,” which was used in the movie of the same name. Stephen Stills appears on this song.
This song gets covered a lot – for a weird experience, check out the cover versions of “For What It’s Worth” done by Ozzy Osbourne on the Under Cover album and Queensryche on their Take Cover album. Both of them pretty much murder it.
This song plays during the opening credits of the movie Lord Of War starring Nicolas Cage, and was used in the movie Forrest Gump starring Tom Hanks.
Buffalo Springfield
There’s something happening here What it is ain’t exactly clear There’s a man with a gun over there Telling me I got to beware
I think it’s time we stop, children, what’s that sound Everybody look what’s going down
There’s battle lines being drawn Nobody’s right if everybody’s wrong Young people speaking their minds Getting so much resistance from behind
It’s time we stop, hey, what’s that sound Everybody look what’s going down
What a field-day for the heat A thousand people in the street Singing songs and carrying signs Mostly say, hooray for our side
It’s s time we stop, hey, what’s that sound Everybody look what’s going down
Paranoia strikes deep Into your life it will creep It starts when you’re always afraid You step out of line, the man come and take you away
We better stop, hey, what’s that sound Everybody look what’s going down Stop, hey, what’s that sound Everybody look what’s going down Stop, now, what’s that sound Everybody look what’s going down Stop, children, what’s that sound Everybody look what’s going down
I would not call it a great movie, no one would ever mistake this with Citizen Kane but it is a very interesting sci-fi – horror movie. When I first watched this movie…I did not know what it was about and I ended up liking the twist. I wanted to know where the term came from…Katherine Ross is great as Joanna. I have not watched the remake of it nor have I read the book. I liked how this movie draws you in suburbia only to start hinting at things that were not completely right with the Stepford Wives.
A husband and wife with kids (one kid being future 80s star Mary Stuart Masterson) move from New York City to Fairfield County, Connecticut to a suburb called Stepford. Walter Eberhart (Joanna’s husband) made the decision to move here without much input from Joanna. She is not happy about the move but tries to make the best out of it. Walter joins a men’s social club and Joanna starts noticing the wives not acting normal. All they talked about is cleaning and cooking and are happy all of the time. All the wives have model looks, spotless houses, and are sickeningly optimistic.
Joanna meets two other women (Bobbie and Charmaine) who notice the same thing and together they start investigating what is going on.
After Charmaine takes a trip with her husband, Joanna and Bobbie notice that when she returns she is not the same anymore. She is just like the others. They both at first think the men are adding something to the water but it is much worse than that.
It’s interesting to see Tina Louise from Gilligans Island in this as Charmaine.
This was not a hit but it was a very poignant song about John Lennon after he was murdered. It was on the Tug of War album and it is a very touching song of Paul having an imaginary conversation with John. It’s a very personal side of Paul that he doesn’t show a lot.
The Tug of War album was a very good album. It peaked at #1 in 1982 and it would be his last #1 album until Egypt Station peaked at #1 in 2018.
The song peaked at #46 on the Billboard Mainstream Rock Charts.
Paul on the song: “After John died, there’d been a lot of talk about who did what and who liked who and did the Beatles argue. I was almost buying into this idea that me and John were fighting all the time. But I remembered it wasn’t true, so I wrote the song about how, ‘if you were here, you might say this or those… but I know better.’
I remember well some of the things we did. It was really for me thinking about John. We had a great relationship and like any family, there are always arguments, there’s always disputes, but in the end, we loved each other and I wanted to make a song where I actually said “I love you” to John, so that was that song.
It’s quite emotional because it came from a real feeling about him, and I wanted to correct the record in my mind as much as in any one else’s mind. There were some photos from that period which were really beautiful, and there’s just him and me working and you could see we loved each other. So, once all these rumors go about, you almost buy into them yourself. So that song helped me set the record straight.”
From Songfacts
McCartney wrote this for John Lennon after his tragic death on December 8, 1980. He sings of the years they spent together in much detail.
Paul McCartney: “The truth of the matter is when John died it was so weird for everyone and obviously for those of us that were near to him it was doubly, triply weird and then there was the obvious sort of thing is anyone going to write a song about John because obviously certainly we all felt deeply enough and normally when we felt deeply enough we committed it to song. I was wondering if I was going to do it but I thought I’m not going to sit down and try to do it but if anything comes sometime I’ll do it. I was one day just sitting quietly in this little room with my guitar and these chords started coming out and I started having these thoughts as if I was talking to myself to John about our relationship and stuff and obviously one of the things that had been funny for me was this idea of when the Beatles broke up we became enemies for a time. But I knew we weren’t and I know for a fact he knew we weren’t too because independently of each other we’d talked nicely of each other but there was a pride thing of two men very difficult business and all that.” (Transcribed from this interview.)
McCartney told The London Times December 5, 2009, that in this song, “I’m talking to John in my head. It’s a conversation we didn’t have.” He added that they were reconciled again by the time of the tragedy: “We were mates. God, that was so cool. It was the saving grace. Because it got a bit sticky after the Beatles. No, we were really good mates again – it was lovely, actually. Performing this song, in New York, where he was killed, is a very emotional affair. The last verse, where I sing ‘and if I said I really loved you, and was glad you came along,’ it’s like singing it to your dad who died.”
During the Q&A Mojo Magazine Session in November 2009, McCartney said that this song is his most difficult to perform: “I realize I’m telling this man that I love him, and it’s like, ‘Oh my god’, like I’m publicly declaring it in front of all these people I don’t know! It’s a good thing to do, though.”
McCartney performed this live on his 2002 release Back In The US.
Here Today
And if I say I really knew you well What would your answer be? If you were here today Ooo ooo ooo, here today
Well, knowing you You’d probably laugh and say That we were worlds apart If you were here today Ooo ooo ooo, here today
But as for me, I still remember how it was before And I am holding back the tears no more Ooo ooo ooo, I love you, ooo
What about the time we met? Well, I suppose that you could say That we were playing hard to get Didn’t understand a thing But we could always sing
What about the night we cried? Because there wasn’t any reason Left to keep it all inside Never understood a word But you were always there with a smile
And if I say I really loved you And was glad you came along And you were here today Ooo ooo ooo, for you were in my song Ooo ooo ooo, here today
If I had to pick out favorite cruising songs…this would be in the top 5. A great song by an underappreciated band. This song peaked at #1 in the Billboard 100, #1 in Canada, and #9 in the UK.
This was the second of three #1 hits for The Rascals, after “Good Lovin'” and before “People Got to Be Free.”
The song was off of the album of the same name in 1967 and it peaked at #5 in the Billboard Chart.
From Songfacts
Felix Cavaliere and Eddie Brigati of The Rascals wrote this song after they realized that because of their work schedule, they could see their girlfriends only on Sunday afternoons. It’s implied that these Sunday afternoons are spent with a nice romp. Cavaliere told Seth Swirsky, who was shooting footage for his documentary Beatles Stories, “I met this young girl and I just fell head over heels in love. I was so gone that this joyous, wonderful emotion came into the music. Groovin’ was part of that experience. If you look at the story line, it’s very simple: we’re groovin’ on a Sunday afternoon because Friday and Saturdays are when musicians work. The simplicity of it is that Sundays you could be with your loved one. And the beauty of is this joyous bliss that at that time I equated with a person, but that’s the beauty of music – when it’s an example of what you do it lasts forever. You’re in love forever because of that moment in time that you captured, and that’s what was happening with Groovin’.”
The record company executives who worked on “Groovin'” didn’t particularly like the song, but as they listened to the playback, influential New York DJ Murray the K overheard it and pronounced it a #1 record. Unbeknownst to the group, Murray went to Atlantic Records president Jerry Wexler and demanded it be released. As the program manager and top DJ on the first FM rock station (WOR-FM), Murray the K had this kind of clout, and also the rare ability to connect with listeners and recognize what songs would become hits. The Rascals, who started out as The Young Rascals, were playing at The Gordion Knot club on York Avenue when Murray picked them as his “house band” – the group that backed him up at personal appearances. It was that relationship (based on Murray’s gut sense that the band had genuine potential) that drove his partisan support.
In the US, this spent two weeks at #1, then two weeks at #2 (as Aretha Franklin’s “Respect” took over to top spot), then returned to the top for two more weeks.
The term “Groovy” was becoming popular around this time, and the title of this song is a variation on the term. The first popular “Groovy” song was “A Groovy Kind Of Love,” and the first popular use in lyrics was in “59th Street Bridge Song.”
Smokey Robinson got the idea for his song “Cruisin'” from this one – his original hook was “I love it when we’re groovin’ together,” but he thought “cruisin'” was more intimate.
Groovin
Groovin’, on a Sunday afternoon Really couldn’t get away too soon
I can’t imagine anything that’s better The world is ours whenever we’re together There ain’t a place I’d like to be instead of
Groovin’, down a crowded avenue Doin’ anything we like to do
There’s always lots of things that we can see We can be anyone we want to be And all those happy people we could meet just
Groovin’, on a Sunday afternoon Really couldn’t get away too soon
Ah-ha-ha Ah-ha-ha Ah-ha-ha
We’ll keep on spending sunny days this way We’re gonna talk and laugh our time away I feel it comin’ closer day by day Life would be ecstasy, you and me endlessly
Groovin’, on a Sunday afternoon Really couldn’t get away too soon
Stevie Wonder in the 60s and 70s was unbeatable. Not discounting his 80s output but for me, it’s hard to beat his 70s output.
Higher Ground peaked at #4 in the Billboard 100, #29 in the UK, and #9 in Canada. The song was on the album Innervisions ($4) released in 1973. Right after the album was released Stevie was riding in a car when it collided it with a logging truck. Some logs crashed through the windshield and hit Stevie. He was in a coma for 4 days with a severe brain contusion.
Steve Wonder on the song: I would like to believe in reincarnation. I would like to believe that there is another life. I think that sometimes your consciousness can happen on this earth a second time around. For me, I wrote “Higher Ground” even before the accident. But something must have been telling me that something was going to happen to make me aware of a lot of things and to get myself together. This is like my second chance for life, to do something or to do more, and to value the fact that I am alive.
From Songfacts
The lyrics deal with getting a second chance (“So darn glad he let me try it again”) and making the most of it. Strangely, Wonder recorded it three months before he was almost killed on his way to a benefit concert in Durham, North Carolina. The car he was riding in was behind a truck carrying a load of logs, which stopped suddenly, sending a log through the windshield and hitting Wonder in the head. The accident put Wonder in a coma for four days. His road manager and good friend, Ira Tucker Jr., knew that Stevie liked to listen to music at high volume, so he tried singing this song directly into his ear. At first he got no response, but the next day, he tried again and Wonder’s fingers started moving in time with the song – the first sign that he was going to recover.
Recalling his time in the coma, Wonder said, “For a few days I was definitely in a much better spiritual place that made me aware of a lot of things that concern my life and my future and what I have to do to reach another higher ground. This is like my second chance for life, to do something or to do more and to face the fact that I am alive.”
Innervisions was released on August 3, 1973, just three days before Wonder’s accident.
Guided by a mix of Christian morality and astrological mysticism, Wonder believed he was writing a “special song” whose lyrics suggested a coming day of judgment. “I did the whole thing in three hours” he told Q magazine. It was almost as if I had to get it done. I felt something was going to happen. I didn’t know what or when, but I felt something.”
When he turned 21, Wonder renegotiated his deal with Motown Records, taking control of his recordings by forming his own production and publishing companies. Motown was very regimented in terms of what musicians and producers were used on recordings, but Stevie wanted to do most of this work himself. In 1971, he teamed with the engineers Robert Margouleff and Malcolm Cecil and began a constant cycle of recording in which he played most of the instruments himself. On this track, Wonder is the only credited musician, listed as playing Hohner clavinet, drums, and Moog bass.
In 1993 UB40 included a cover version on their Promises And Lies album that reached #45 in the US and #8 in the UK.
Wonder was a huge influence on The Red Hot Chili Peppers, who remade this with a more uptempo beat on their Mother’s Milk album. They even thank him in the lyrics by adding the phrase “You know what Stevie says.” Their version helped introduce many listeners to Wonder. >>
Wonder sang an a cappella version of this song with Alicia Keys at the Grammy Awards in 2006.
Higher Ground
People keep on learnin’ Soldiers keep on warrin’ World keep on turnin’ ‘Cause it won’t be too long
Powers keep on lyin’ While your people keep on dyin’ World keep on turnin’ ‘Cause it won’t be too long
I’m so glad that he let me try it again ‘Cause my last time on earth I lived a whole world of sin I’m so glad that I know more than I knew then Gonna keep on tryin’ Till I reach my highest ground
Lovers keep on lovin’ Believers keep on believin’ Sleepers just stop sleepin’ ‘Cause it won’t be too long Oh no
I’m so glad that he let me try it again ‘Cause my last time on earth I lived a whole world of sin I’m so glad that I know more than I knew then Gonna keep on tryin’ Till I reach my highest ground
Woo! Till I reach my highest ground No one’s gonna bring me down Oh no Till I reach my highest ground
Don’t let nobody bring you down (they’ll sho ‘nough try) God is gonna show you higher ground
This 1996 movie is about a mentally challenged man from the South named Karl Childers who is in a mental hospital after he kills the town bully and his mom when he is 12 years old. He thought the man was taking advantage of his mom but she was encouraging it so he killed her also.
Karl is very southern, slow, absurd, sympathetic, and frightening. The movie was written, directed, and starred Billy Bob Thornton. Karl spends most of his life in the “nervous” hospital and is released with nowhere to go to. He goes back to the small town he was from and with the help of one sympathetic staff member he got a job at a small engine shop. He is great at repairing engines. He then makes friends with a young boy named Frank who has a single mom with a rather nasty boyfriend named Doyle Hargraves (Dwight Yoakam).
At first, you first meet Charles Bushman at the mental hospital in mostly a one-way conversation with Karl. Charles is beyond creepy and it’s an interesting character contrast between the two. They both killed other people and are institutionalized …Charles because he feels like he is entitled to kill and Karl because he thought he was protecting his mother and then she becomes a victim because he thought she was wrong in taking part in the affair.
Karl is likable and you do feel sympathetic to his situation. He grew up alone in an old shed outside of his parent’s house. He is basically dumped on society after 25 years in a mental hospital and you pull for him to make it through.
Karl sees things in very simplistic terms…in fact, he sees things better than some others. There is one scene that shows this best. Karl is called over to look at a tiller to see what is wrong with it…no one could figure out why the thing would not start after it was taken apart and put back together…Karl takes one look at it and said: “It ain’t got no gas in it”…
Billy Bob Thorton on who Karl was based on: “I was raised in a place where a guy who was kinda deformed, and couldn’t talk plain, was made to live out in back of his parents’ house. They fed him like a dog. The story was that the mother thought he came out the way he did — and he struggled, just to walk — his mother said she was scared by a snake when she was pregnant, and it caused him to come out like that — he was the devil’s child. It turned out he had polio. That’s all it was. That’s where I got the setup for where Karl comes from.
Here is the cast.
Billy Bob Thornton as Karl Childers
Dwight Yoakam as Doyle Hargraves
J. T. Walsh as Charles Bushman
John Ritter as Vaughan Cunningham
Lucas Black as Frank Wheatley
Natalie Canerday as Linda Wheatley
James Hampton as Jerry Woolridge
Robert Duvall as Karl’s father
Jim Jarmusch as Deke, the Frostee Cream employee
Vic Chesnutt as Terence
Brent Briscoe as Scooter Hodges
Mickey Jones as Johnson
From Wiki…Awards and Nominations
Academy Awards
Won for Best Adapted Screenplay (Thornton)
Nominated for Best Actor (Thornton)
Chicago Film Critics Awards
Won for Best Actor (Thornton)
Edgar Awards
Won for Best Motion Picture Screenplay (Thornton)
Independent Spirit Awards
Won for Best First Feature
Kansas City Film Critics Awards
Won for Best Actor (Thornton)
National Board of Review Awards
Won for Special Achievement in Filmmaking (Thornton)
Satellite Awards
Nominated for Best Actor – Motion Picture Drama (Thornton)
Nominated for Best Original Screenplay (Thornton)
Screen Actors Guild Awards
Nominated for Outstanding Performance by a Cast
Nominated for Outstanding Performance by a Male Actor in a Leading Role (Thornton)
Writers Guild of America Awards
Won for Best Adapted Screenplay (Thornton)
Young Artist Award
Won for Best Leading Young Actor in a Feature Film (Black)
“I’ve got a chip on my shoulder that’s bigger than my feet”…you didn’t see lines like this in early pop songs very much. The song was the A Hard Day’s Night album released in 1964. The song was going to be in the film but it got replaced by Can’t Buy Me, Love. “I wrote that for ‘A Hard Day’s Night’ but Dick Lester didn’t even want it,” John explained, “He resurrected ‘Can’t Buy Me Love’ for that sequence instead.”
The song did get released as a single in the US in 1964 and peaked at #25 in the Billboard 100.
John Lennon on the Dylan influence – “I’d started thinking about my own emotions,” “Instead of projecting myself into a situation, I would try to express what I felt about myself, which I’d done in my books. I think it was Dylan who helped me realize that – not by any discussion or anything, but by hearing his work.”
Cynthia Lennon said this: “It reflects the frustration he [John Lennon] felt at that time. He was the idol of millions, but the freedom and fun of the early days had gone.”
I’ll Cry Instead
I’ve got every reason on earth to be mad ‘Cause I just lost the only girl I had If I could get my way I’d get myself locked up today But I can’t, so I’ll cry instead
I’ve got a chip on my shoulder that’s bigger that my feet I can’t talk to people that I meet If I could see you now I’d try to make you sad somehow But I can’t, so I’ll cry instead
Don’t want to cry when there’s people there I get shy when they start to stare I’m gonna hide myself away But I’ll come back again someday
And when you do you’d better hide all the girls I’m gonna break their hearts all round the world Yes, I’m gonna break them in two And show you what your lovin’ man can do Until then I’ll cry instead
When I think of the Everly Brothers this is not the first song that springs to my mind but it is a lovely ballad by them. The melody of this song is beautiful. It is a reworking of a French song recorded in 1955 by Gilbert Becaud called Je T’Appartiens.
The song peaked at #7 in the Billboard 100, #13 in the UK in 1960.
Just before this became a hit, The Everly Brothers left their original label, Cadence Records, and signed with Warner Brothers for a $100,000 bonus, which was huge at the time.
From Songfacts
The first English version of this song was released in 1957 by an actress named Jill Corey, who recorded it with Jimmy Carroll and his orchestra. This version went to #57 in 1957, two years before The Everly Brothers version.
Don Everly heard an instrumental rendition on the 1959 album Chet Atkins In Hollywood and fell in love with the melody. When he found out there were lyrics, he brought the song to producer Archie Bleyer. Wesley Rose, owner of the publishing company Acuff-Rose that signed the Everly Brothers as songwriters and connected them with Bleyer’s Cadence label, sparred with Bleyer over the tune but lost. Don recalled: “I went to Archie and told him I wanted to do it with strings. Wesley just sat there pouting through the whole session like a kid.”
This was one of the first pop songs to use a string section – eight violins and a cello were used. It was also the first Everly Brothers song to use strings.
This was the first Everly Brothers song they did not record in Nashville. It was done in New York.
In America, six other versions of this song charted in the ’60s:
Betty Everett & Jerry Butler (#5, 1964) Arthur Prysock (#124, 1966) Nino Tempo & April Stevens (#127, 1968) Glen Campbell & Bobbie Gentry (#36, 1969)
Willie Nelson returned the song to the charts in 1982 when he took it to #40.
Bob Dylan recorded this on his 1970 album Self Portrait. We asked Ron Cornelius, who played guitar on the album, why Dylan recorded it. He replied: “No one would be being truthful with you to tell you what was ever in Bob Dylan’s mind. No Way.”
Gilbert Becaud – Je T’Appartiens
Let It Be Me
I bless the day I found you I want to stay around you And so I beg you, let it be me
Don’t take this heaven from one If you must cling to someone Now and forever, let it be me
Each time we meet love I find complete love Without your sweet love what would life be
So never leave me lonely Tell me you love me only And that you’ll always let it be me
Each time we meet love I find complete love Without your sweet love what would life be
So never leave me lonely Tell me you love me only And that you’ll always let it be me
There is probably not a song on Who’s Next that hasn’t been played to death…but I dont’ hear this one as much as some of the others.
One of my favorite Keith Moon drum tracks… It’s not the most noticeable part he played but no other drummer would have played it this way. I included an isolated drum track of this song at the bottom.
Pete Townshend wrote this and sang it… it was part of his “Lifehouse” project, which was a film script featuring The Who in a future world where rock ‘n’ roll saves the masses. The Who scrapped plans for the concept double album and released most of the songs on Who’s Next…pretty much agreed their best album and one of the best in rock.
The song was the B side to Behind Blue Eyes in 1971.
From Songfacts
This is about taking a vacation by riding around in a car with no particular destination. It was something Pete Townshend liked to do.
This was much lighter and more simplified than the other songs on the album.
For the solo, Townshend ran his guitar through a device called an Envelope Follower. It was a type of synthesizer distortion that made it sound like he was playing under water.
Keith Moon’s isolated drums on Going Mobile
Going Mobile
I’m going home And when I want to go home, I’m going mobile Well I’m gonna find a home on wheels, see how it feels, Goin’ mobile Keep me moving
I can pull up by the curb, I can make it on the road, Goin’ mobile I can stop in any street And talk with people that we meet Goin’ mobile Keep me moving, mmm
Out in the woods Or in the city It’s all the same to me When I’m driving free The world’s my home When I’m mobile, ey woo, beep beep
Play the tape machine Make the toast and tea When I’m mobile Well, I can lay in bed with only highway ahead When I’m mobile Keep me moving
Keep me moving Over fifty Keep me groovin’ Just a hippie gypsy Come on move now Movin’ Keep me movin’ yeah
Keep me movin’, movin’, movin’, yeah Movin’ yeah Mobile, mobile, mobile, mobile, mobile, mobile, mobile
I don’t care about pollution I’m an air-conditioned gypsy That’s my solution Watch the police and the taxman miss me! I’m mobile! Oh yeah he he Mobile, mobile, mobile, yeah
I remember seeing the video and MTV would play the version with the word “joint” in reversed…like people would wonder what Tom was rolling. Another version I heard on the radio was… instead of “roll another joint” it was “hit another joint”… which is…worse?
“The strangest thing happened. I wrote this song not thinking that it was controversial in any way and I nearly left this song off the album ’til the very end, and we put it on. Imagine my surprise when this song comes on television and they say, ‘Let’s roll another noojh,’ which sounded worse to me than joint. Because, I don’t know if you’ve ever had a noojh, but it sounds really wicked.”
I do miss Tom…
This song peaked at #13 in 1995 in the Billboard 100.
Tom Petty on this song: “Every blue moon or so, I might have a toke on somebody’s… cigarette. It’s an OK way to live your life, but it’s not to be advised. I’m not going to say it’s good or bad.
But I wrote this song a while back and I was trying to do this character in the song who was kind of down and looking for some company. And instead of having him say, ‘Let’s have another beer’ – they always have to have that in the song – I thought this guy should roll another joint.”
From Songfacts
“You don’t know how it feels to be me” is something many of us have said to seek empathy for our burdens. Typical of Petty’s songwriting, the lyric is couched in ambiguity, which could be the point: We don’t know how it feels to be him, so how can we possibly know what the song is about? It’s certainly not entirely autobiographical, at least literally, as Petty’s father was not born to rock – he was leery of his son’s career in music.
We’ll get to the point: marijuana had a little something to do with this song. Here’s what Petty said about it on his VH1 Storytellers special:
The video was directed by Phil Joanou. It’s one continuous shot, with the camera revolving around a microphone as all kinds of crazy stuff happens in the background, including a circus act and a bank robbery.
Tom Petty was one of MTV’s biggest stars, but they wouldn’t play the video as delivered because of the drug reference (sex and violence were generally OK on the network, but they were very sensitive about drugs). When the video aired, the word “joint” was reversed so it came out sounding like “noojh.”
Perhaps to atone, MTV awarded it Best Male Video at the VMAs.
This won a Grammy in 1995 for Best Male Rock Vocal Performance. >>
The band performed this on Saturday Night Live when they were the musical guests November 19, 1994. Their drummer, Stan Lynch, had left the band, so Dave Grohl, who had not yet formed Foo Fighters, sat in for the performance. Steve Ferrone got the gig as Heartbreakers drummer a short time later.
You Don’t Know How It Feels
Let me run with you tonight I’ll take you on a moonlight ride There’s someone I used to see But she don’t give a damn for me
But let me get to the point, let’s roll another joint And turn the radio loud, I’m too alone to be proud You don’t know how it feels You don’t know how it feels to be me
People come, people go Some grow young, some grow cold I woke up in between A memory and a dream
So let’s get to the point, let’s roll another joint Let’s head on down the road There’s somewhere I gotta go And you don’t know how it feels You don’t know how it feels to be me
My old man was born to rock He’s still tryin’ to beat the clock Think of me what you will I got a little space to fill
So let’s get to the point, let’s roll another joint Let’s head on down the road There’s somewhere I gotta go And you don’t know how it feels No, you don’t know how it feels to be me
A great little pop/rock song. The song was on the album Labor of Lust and the album peaked at #31 in the Billboard Album Charts in 1979. Rockpile recorded this album and at the same time recorded Edmunds solo album Repeat When Necessary.
12 was popular with this song…The song peaked at #12 in many charts… Billboard 100, Canada RPM, New Zealand, and the UK… In Ireland, it only reached #19.
Nick Lowe said about the song: “I wrote that when I was with a band, Brinsley Schwarz, that I was with from the early ’70s to about the mid-’70s. … We recorded it on a demo, it never came out, and when I signed to Columbia Records the A&R man [Gregg Geller] there at the time suggested I record it again. And I didn’t think it would do anything, but he kind of bullied me into it.”
The video featured Nick’s wife Carlene Carter who had just got married Nick shortly before and included some real footage of the ceremony in the video. Rockpile guitarist Dave Edmunds plays the chauffeur in the video. Drummer Terry Williams was the photographer. Guitarist Billy Bremner also got a role, playing the guy who serves the cake.
This would be Nick’s only top forty hit in Billboard.
From Songfacts
This song reflects on a lover’s rather antagonistic attitude. Nick Lowe co-wrote the song with his Brinsley Schwarz bandmate, Ian Gomm, for the Brinsley Schwarz album, It’s All Over Now, though said album was never officially released. In 1979, Lowe re-recorded the song for his second solo album, Labour of Lust.
Lowe and Gomm were hoping the song would be a pop hit for Brinsley Schwarz, and crafted it for mass consumption. Lowe only grudgingly recorded it, and he considered it an aberration – a pop sell-out song. When he performed the song on The David Letterman Show, he called it “wimpy” and had little interest in discussing it.
Lowe cribbed the phrase “cruel to be kind” from Shakespeare, who used it in Hamlet:
I must be cruel only to be kind
Thus bad begins and worse remains behind
Lowe revealed the musical influence behind this song to The A.V. Club: “I wrote with ‘The Love I Lost’ by Harold Melvin & the Blue Notes in mind.”
This was Lowe’s highest charting hit in the US, where it peaked at #12 (coincidentally, it also peaked at #12 in the UK, Canada and New Zealand). Lowe spoke to The A.V. Club about his chart success: “I remember coming to Los Angeles when it was a hit, and did that thing where you change the radio station, and it was on about two or three at the same time. You could hear it starting on one station and finishing on another. Amazing.”
The official video is a comedic reenactment of Lowe’s marriage to Carlene Carter, who plays herself in the clip.
The couple was married on August 18, 1979 after Lowe had just finished a tour with his band Rockpile. Figuring he could kill two birds with one stone, Lowe made the wedding the theme of the video, and used some actual footage of the event, turning his wedding day into a video shoot (although aren’t they all, sort of?). The day before, director Chuck Statler shot staged footage of Lowe preparing for the nuptials and Rockpile performing the song outside of the Tropicana Hotel in Los Angeles, where the reception was held.
The wedding took place at Carlene’s house in Hollywood. Guests at the wedding show up in the clip – you can spot Carter’s stepsister Rosanne Cash sitting on the couch.
Carter and Lowe toured together in 1982, opening for The Cars, with both singers sharing the same band. The couple divorced in 1990.
“We were having great fun,” Edmunds said in his Songfacts interview. “In that band, the four years we were together, we never had any falling out – it was a little club of our own.”
The drum kit in the video says “The Textones.” That’s because Rockpile didn’t have a drum kit handy, so they borrowed one from a local band. Kathy Valentine, who would later join The Go-Go’s, was a member of this band.
In 1982, Enjoh Santyuutei released a Japanese cover version of this song and in 2010, Stavros Michalakakos recorded it in Greek.
The video was one of 206 that aired on MTV’s first day of broadcasting: August 1, 1981.
Cruel To Be Kind
Oh I can’t take another heartache Though you say you’re my friend, I’m at my wit’s end You say your love is bonafide, but that don’t coincide With the things that you do And when I ask you to be nice, you say
You’ve gotta be cruel to be kind, in the right measure Cruel to be kind, it’s a very good sign Cruel to be kind, means that I love you, baby (You’ve gotta be cruel) You gotta be cruel to be kind
Well I do my best to understand dear But you still mystify and I want to know why I pick myself up off the ground To have you knock me back down, again and again And when I ask you to explain, you say
You’ve gotta be cruel to be kind, in the right measure Cruel to be kind, it’s a very good sign Cruel to be kind, means that I love you, baby (You’ve gotta be cruel) You gotta be cruel to be kind
Well I do my best to understand dear But you still mystify and I want to know why I pick myself up off the ground To have you knock me back down, again and again And when I ask you to explain, you say
You’ve gotta be cruel to be kind, in the right measure Cruel to be kind, it’s a very good sign Cruel to be kind, means that I love you baby (You’ve gotta be cruel) You gotta be cruel to be kind
(Cruel to be kind), oh in the right measure (Cruel to be kind), it’s a very very very good sign (Cruel to be kind), it means that I love you, baby (You’ve gotta be cruel) You gotta be cruel to be kind
(Cruel to be kind), oh in the right measure (Cruel to be kind), yes it’s a very very very good sign (Cruel to be kind), it means that I love you, baby (You’ve gotta be cruel) You gotta be cruel to be kind
(Cruel to be kind), oh in the right measure (Cruel to be kind), yes it’s a very very very good sign (Cruel to be kind), it means that I love you
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