20 Songs Classic Radio Has Worn Out

Everyone’s list will be different but classic rock radio has just overplayed these songs. It does not mean I don’t/didn’t like the song to begin with…some I didn’t…some I did… There are more than this but I kept it at 20. No need for me to post youtube links…just turn on a classic rock station and they will come to you.

I’ve tried to keep it one per band or artist. The order of these is not really important…you could pull them out of a hat and be just as well. Sometimes the artists have other hits that you don’t hardly hear but no… they stick to the old reliables.

Radio has ruined these for me. Yes, I’m older and have heard them more than some other people but my 18-year-old son suggested a few of them.

  1. Taking Care of Business – Bachman Turner Overdrive – I liked this song at one time…Now I would pull a hamstring getting up to turn it off.
  2. Hotel California – Eagles  – I still like the solos at the end with Joe Walsh and Don Felder but the rest I can do without.
  3. More Than A Feeling – Boston  – At one time it was refreshing and different. Radio has worked this song like the town pump.
  4. In The Air Tonight – Phil Collins (just one of many) His songs saturated the market so much in the 80s that is was enough for 3 lifetimes
  5. Jukebox Hero – Foreigner – I know huge Foreigner fans but I’m not one of them. This one I know more than I should.
  6. Feel Like Making Love – Bad Company – Not a well-written song to begin with…it doesn’t get better with more spins. They have good songs…Painted Face, Crazy Circles but they don’t get played as much.
  7. Don’t Stop Believing – Journey – Yes it’s catchy and an eighties theme…it fit at the end of the Sopranos…but I can do without it.
  8. Start Me Up – Rolling Stones – Oh how I loved this song when it was released. I liked it a decade later…until Microsoft used it and since then you would think it was the Stones only song.
  9. Tom Sawyer – Rush – See number 5
  10. The Joker – Steve Miller – Hanspostcard says it all.
  11. Money – Pink Floyd – Great band and they have so many others they could play.
  12. Roundabout Yes – When I hear the octave on the guitar I spin the dial like a top to another station.
  13. Sweet Home AlabamaLynyrd Skynyrd – In the south where I live this song is required listening…. over and over and over…They have better songs…
  14. Sharp Dressed Man – ZZ Top – I loved the video, the car, and the girls in the video but the song no more. How about the older ZZ Top?
  15. Bad to the Bone – George Thorogood & the Destroyers – In high school alone I heard it enough.
  16. Old Time Rock and Roll – Bob Seger – The first 5 times I heard it…I liked it…but after the 1, 855th time…no more.
  17. Stairway to Heaven – Led Zeppelin – It’s been played backward, forward and sideways…and the hidden message is the same…a worn out masterpiece.
  18. Barracuda Heart – This and Magic Man are like the bookends of worn out songs.
  19. Black Water – Dobbie Brothers – I’ve never bought a record by them and they had great musicians in that band…but this is nauseatingly overplayed
  20. You Give Love a Bad Name – Bon Jovi – Not for me the first time or the many times after…in cars, shopping centers, and grocery stores.

To be fair…there are songs that are worn out but yet I still listen to… Who Are You, Baba O’Riley, Hey Jude, Lola, Paint It Black, Brown Eyed Girl…

 

Remembering The Waltons

In the early 70s Television was going through a bout of criticism by the public because of its violence, there was the fear of government intervention and censorship. CBS decided to make the “Homecoming” into a series. Their reasoning was that once this family-oriented series aired and if it proved a failure, they would have shown they tried to put out a show that the public wanted. But the show did not fail. It took a little time, but it found its audience and CBS unexpectedly found itself with a smash hit on its hands.

The Waltons have been made fun of through the years. Other shows such as Good Times took shots at it for being too wholesome. I watched it when it was originally on. I liked the show and my mom thought I loved the show so she got me a Waltons Lunchbox. So while my buddies had the Superfriends, Evel Knievel, and cool lunchboxes I had the Waltons…yea my buddies got some mileage out of that but it was ok…I would love to have that lunchbox now.

A few years ago I got the complete DVD set and started to watch them again. The series had such quality scripts and the children were believable but the ones who made the show to me were Will Geer and Ellen Corby.

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Will Geer’s grandpa was a grandpa everyone would love to have. Johnboy (Richard Thomas) was the lead to the show but when he left it remained solid to me. When Will Geer died the show missed him terribly. Ellen Corby’s grandma could be spicy and cantankerous and she helped balance the show from the sometimes sugary episodes.

The show ages well because it was set in the depression era and that is what you get until later on in the show’s run. The show remained a quality show in part because writer Earl Hamner Jr. remained with the show the nine years it was on. The show ended up winning 11 Emmy Awards…Good Night Johnboy became a catchphrase that you still hear today.

 

 

Jackson Browne – Somebody’s Baby

I remember hearing this song on Fast Times at Ridgemont High. A good pop song by Jackson in 1982 and it peaked at #7 in the Billboard 100 and #16 in Canada in 1982. It was written by Jackson Browne and Danny Kortchmar.

This was his highest ever charting song.

Jackson Browne recorded the song for the film because he was friends with its writer, Cameron Crowe. The song’s co-writer Danny Kortchmar was also friends with Crowe, and was working on the song “Love Rules” for the film with Don Henley when he came up with the framework for “Somebody’s Baby.” Kortchmar convinced Browne to finish writing the song and record it for the movie.

Browne has called this an “unabashed pop song.” Most musicians would want their most popular songs on their albums, but Browne was OK having it on the Fast Times at Ridgemont High soundtrack, despite the advice of his former label boss David Geffen, who told him he was nuts for giving it up.

From Songfacts

This song is about a guy who is infatuated with a girl, and convinces himself that she must have a boyfriend. As he tries to work up the courage to talk to her, he keeps losing confidence by reminding himself that she’s too fine not to be taken.

This was part of a memorable scene in the movie Fast Times at Ridgemont High, where it was used to express the feelings of a frustrated teenager. The movie was a huge hit and helped drive the chart success of the song. “Somebody’s Baby” was the only hit from the soundtrack, although “Moving In Stereo” by The Cars was used in a famous scene and also became associated with the film.

Jackson Browne wrote this song with Danny Kortchmar, who played guitar on his Running On Empty and Lives In The Balance albums. Kortchmar had the music and the “must be somebody’s baby” hook. He knew Browne could do something special with the song, so he brought what he had to Jackson, who helped Kortchmar complete it. That’s what I brought to him: all the guitar parts and everything else. In our 2013 interview, Kortchmar explained:

“It was not typical of what Jackson writes at all, that song. But because it was for this movie he changed his general approach and came up with this fantastic song. It’s a brilliant lyric. I think it’s absolutely wonderful. But it’s atypical of him – he wasn’t sure what to make of it himself. He didn’t want to put it on his album that he was making because it was atypical of what he did, but it ended up being something that got requested a lot and he ended up playing it live and taking it to his heart, as it were. And now he plays it all the time.”

Somebody’s Baby

Well, just, a look at that girl with the lights comin’ up in her eyes.
She’s got to be somebody’s baby.
She must be somebody’s baby.
All the guys on the corner stand back and let her walk on by.

She’s got to be somebody’s baby.
She must be somebody’s baby.
She’s got to be somebody’s baby.
She’s so fine.

She’s probably somebody’s only light.
Gonna shine tonight.
Yeah, she’s probably somebody’s baby, all right.

I heard her talkin’ with her friend when she thought nobody else was around.
She said she’s got to be somebody’s baby; she must be somebody’s baby.
Cause when the cars and the signs and the street lights light up the town,

She’s got to be somebody’s baby;
She must be somebody’s baby;
She’s got to be somebody’s baby.
She’s so

She’s gonna be somebody’s only light.
Gonna shine tonight.
Yeah, she’s gonna be somebody’s baby tonight.

I try to shut my eyes, but I can’t get her outta my sight.
I know I’m gonna know her, but I gotta get over my fright.
We’ll, I’m just gonna walk up to her.
I’m gonna talk to her tonight.

Yeah, she’s gonna be somebody’s only light.
Gonna shine tonight.
Yeah, she’s gonna be somebody’s baby tonight.
Gonna shine tonight, make her mine tonight.

Atomic Rooster – The Devil’s Anwer

Atomic Rooster… Now that is a name. I’ve been in short term bands with different names such as… “The Flying Junebugs”, “The Cryin ‘Shame” and “Green Swingset” but Atomic Rooster is unique. Atomic Rooster was an English rock band, originally composed of former members of The Crazy World of Arthur Brown. Throughout their history keyboardist, Vincent Crane was the only constant member and wrote the majority of their material.

This is another song I noticed on the Life On Mars series in the mid-2000s.

Their history is defined by two periods: the early-mid-1970s and the early 1980s. Their genre in music is difficult to define since they went through radical changes in very short times during the life of the band. However, their best-known era represented a more hard rock/progressive rock sound, exemplified by their only hit singles, Tomorrow Night (UK No. 11) and The Devil’s Answer (UK No. 4), both in 1971.

The Devil’s Answer

People are looking but they don’t know what to do
It’s the time of the season for the people like you
Come back tomorrow, show the scars on your face
It’s a clue to the answer we all chaseThree, five and seven lift the heaviest load
reach the top of the heaven that’s fallen below
Devil may care but you wish for the best can’t you see there’s an answer that lies there
Come all you sinners and keep with the time
can we see all the faces that have fallen behind
Don’t make the reason it’s a secret for you

There’s a clue to the answer we all know
There’s no clue to the answer we all know
People are looking but they don’t know what to do
It’s the time of the season for the people like you
Come back tomorrow, show the scars on your faceIt’s a clue to the answer we all chase
It’s a clue to the answer we all chase

Paul McCartney and Wings – Hi Hi Hi

This is a rocking song from 1971 made it to the top 10 at #10 in the Billboard 100, #5 in Canada, and #5 in the UK. This song got blacklisted and of course, gave it a boost. After singles such as “Mary Had A Little Lamb” this song gave Paul some “cool” teenager credibility about apparently getting high.

In an interview with the October 2010 edition of Mojo magazine, McCartney claimed to be surprised when the BBC blacklisted this song. Said the former Beatle: “Look at Bob Dylan, ‘everybody must get stoned.’ It was like, ‘Ooh, does he mean you get high? Or does he mean getting drunk? So there was that ambiguity and I assumed the same would apply to me.”

From Songfacts

This song was banned by the BBC for what they described as “inappropriate sex and drugs references.” Fair enough – McCartney is singing about getting high, using his “sweet banana” and “doing it” to her! 

McCartney talked about this song in a 2018 interview with GQ. “A lot of people were getting high, so to me it was just like a fantasy song, sort of saying, ‘Hey girl, come on let’s get high,'” he said. “It was just about the times. It’s very much a period piece, but it goes down well.”

McCartney dropped this from his setlists after 1976, but brought it back in 2013 and has played it recurrently ever since. As a grandfather, the song can be a bit embarrassing, so he tweaks it a bit, singing, “Let’s get hi… on life!”

Hi Hi Hi

Well, when I met you at the station 
You were standing with a bootleg in your hand. 
I took you back to my little place 
For a taste of a multicolored band. 
We’re gonna get hi hi hi, 
The night is young. 
She’ll be my funky little mama, 
Gonna rock it and we’ve only just begun. 

We’re gonna get hi, hi, hi 
With the music on. 
Won’t say bye, bye, bye, bye, bye, bye, bye, bye 
Til the night is gone. 
I’m gonna do it to you, gonna do it, 
Sweet banana, you’ll never give up. 
We’re gettin’ hi, hi, hi, in the midday sun. 

Well well, take off your face, 
Recover from the trip you’ve been on. 
I want to lie on the bed, 
Get you ready for my polygon. 
I’m gonna do it to you, gonna do it, 
Sweet banana, you’ve never been done. 
Yes, I go like a rabbit, gonna grab it, 
Gonna do it ’til the night is done. 

We’re gonna get hi, hi, hi with the music on. 
Won’t say bye,bye, bye, bye, bye, bye, bye, bye 
Til the night is gone. 
I’m gonna do it to you, gonna do it, 
Sweet banana, you’ll never give up. 
We’re gonna get hi, hi, hi, we’re gonna get hi hi hi, 
We’re gonna get hi, hi, hi, in the midday sun.

The Paul McCartney Bruce Mcmouse Show…quick review

Last night my son and I went to see this film in Nashville at the Belcourt Theater at the screening. It opened up with Paul McCartney and Wings in very early seventies attire talking about how they met the Mcmouses. The one thing that surprised me…it was a smaller amount of animation that I anticipated. I thought it would be 60-40 animation but it was around 30-70 with Wings playing live on their 72 European tour and various film clips with the music. I’m not unhappy with the ratio because I wanted to hear Wings live more than seeing the animation.

They did use some soundstage shots mixed in with live shots also.

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My biggest complaint was the voices of the mice were a little too animated…no pun intended but you could not understand what they were saying without straining. Wings were great though. This is the earliest video I’ve seen of Paul playing outside of the Beatles. The sound was great. The songs I can remember were Big Red Barn, Wild Life, Long Tall Sally, Seaside Woman, My Love, Hi Hi Hi, Mary Had a Little Lamb, C Moon, Blue Moon Over Kentucky, Maybe I’m Amazed, and there are a few more I’m forgetting.

The film is only 55 minutes long but a good representation of Wings in 1972. The band looked like they were having a lot of fun. I will get the film when it is released.

It’s a nice film that was made right before Live and Let Die and Band on the Run. The Bruce Mcmouse Show is not the best thing Paul has done…but a fun film all the same. It’s also a nice time capsule of the early seventies… Also, it was cool that at least 80 percent of the audience were college students…that gives me hope…and it was packed.

Now Paul…release the 1976 tour to the Theaters, please.

 

 

 

Kinks – Do It Again

Good riff and rock song by the Kinks. It starts off with a chord that is reminiscent of the “A Hard Days Night” intro.  I was in high school when it was released and it was great to hear a guitar driven song.

Ray Davies wrote this about the stressful working schedules the Kinks were going through. The song peaked at #41 in the Billboard 100 in 1983.

Do It Again

Standing in the middle of nowhere
Wondering how to begin
Lost between tomorrow and yesterday
Between now and then

And now we’re back where we started
Here we go round again
Day after day I get up and I say
I better do it again

Where are all the people going
Round and round till we reach the end
One day leading to another
Get up go out do it again

Then it’s back where you started
Here we go round again
Back where you started
Come on do it again

And you think today is going to be better
Change the world and do it again
Give it all up and start all over
You say you will but you don’t know when

Then it’s back where you started
Here we go round again
Day after day I get up and I say
Come on better do it again

The days go by and you wish you were a different guy
Different friends and a new set of clothes
You make alterations and [a fact in you knows]
A new house a new car a new job a new nose
But it’s superficial and it’s only skin deep
Cause the voices in your head keep shouting in your sleep
Get back, get back

Back where you started, here we go round again
Back where you started, come on do it again

Back where you started, here we go round again
Day after day I get up and I say, do it agaiiinnn
Do it again
Day after day I get up and I say, do it again

Charles Wright & Watts 103rd St. Rhythm Band – Express Yourself

The song started out as a mistake, but one that Charles Wright liked. The record company didn’t want him to record it. “No one wanted to record it. I had to sneak a bass player, drummer, and engineer into the studio one Sunday and cut it in secret,” Wright recalls. “The president of Warner Bros. told me I made a mistake. So did every DJ that I played it for. But I had a feeling that it was a hit.”

Charles was right…it peaked at #12 in the Billboard 100 in 1970. It has become one of the most licensed songs of the last 40 years.

 

Express Yourself

Express Yourself!
Express Yourself!

You don’t ever need help from nobody else. All you got to do now:

Express Yourself!

What ever you do, do it good.
What ever you do, do it good. All right…

It’s not what you look like, when you’re doin´ what you’re doin´.
It’s what you’re doin´ when you’re doin´ what you look like you’re doin´!

Express Yourself!
Express Yourself!

They’re doin´it on the moon, yeah…
In the jungle too.
Everybody on the floor, now.
Jumpin´ like a kangaroo.
So let the horns do the thing they do, yo…

Some people have everything, and other people don’t.
But everything don’t mean a thing if it ain´t the thing you want.

Express Yourself!
Express Yourself!

O, do it! O, do it.
Do it to it. Go on and do it.
Yo, do it. Give.

Express Yourself!
Express Yourself

The Algonquin Round Table

I’ve read about this gathering for years. Writers, Editors, Artists, Humorists, Actors, Actresses and Reporters would gather at the Algonquin Hotel for what has been known as the 10-year lunch. They would hold court jesting with each other about a number of topics. It was not the place for the thin-skinned. Groucho Marx, the king of insults never felt comfortable there. He once said, “The price of admission is a serpent’s tongue and a half-concealed stiletto.” 

Round Tabler Edna Ferber, who called them “The Poison Squad,” wrote, “They were actually merciless if they disapproved. I have never encountered a more hard-bitten crew. But if they liked what you had done, they did say so publicly and whole-heartedly.” Their standards were high, their vocabulary fluent, fresh, and very tough. Both casual and sharp-witted, they had incredible integrity about their work and endless ambition. Some of the members of the Round Table came together to work on each other projects. They essentially networked with each other. George Kaufman teamed up with Edna Ferber and Marc Connelly on some of his stage comedies, including Dulcy and The Royal Family. Harold Ross of The New Yorker hired both Dorothy Parker as a book reviewer and Robert Benchley as a drama critic.

By 1925, the Round Table was famous. What had started as a private gathering became public. The country-at-large was now attentive to their every word—people often coming to stare at them during lunch. Some members began to tire of the constant publicity. The time they spent entertaining and being entertained took its toll on several of the Algonquin members. In 1927, the execution of Nicola Sacco and Bartolomeo Vanzetti, whose case had divided the country and the Round Table… seemed to cast a pall over the group’s antics.

Dorothy Parker believed strongly in the pair’s innocence, and upon their deaths, she remarked “I had heard someone say and so I said too, that ridicule is the most effective weapon. Well, now I know that there are things that never have been funny and never will be. And I know that ridicule may be a shield but it is not a weapon.”

As America entered the Depression, the bonds that had held the group together started to break. Many members moved to Hollywood for work or on to other interests. It didn’t officially end…it just faded. All in all, it lasted around 10 years.

The last gathering of the Algonquin Round Table was when Alexander Woollcott died in 1943. They all hadn’t met there in years…but the surviving members went straight there after the funeral for the last time.

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Members and Part time-Members who would drop by

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George S. Kaufman (1889–1961): Playwright, New York Times drama editor, producer, director, actor. Wrote forty-five plays (twenty-six hits), won two Pulitzer Prizes.

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Alexander Woollcott (1887–1943): Drama critic for New York Times and New York World, CBS radio star as the Town Crier, model for the character of Sheridan Whiteside in Kaufman and Hart’s “The Man Who Came to Dinner”.

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Beatrice B. Kaufman (1894–1945): Editor, writer, socialite. Married to George.

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Harpo Marx (1888–1964): Actor, comedian, musician, card player.

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Dorothy Parker (1893–1967): Vanity Fair drama critic, New Yorker critic. Celebrated poet, short-story writer, playwright. Wrote Hollywood screenplays. Champion for social justice.

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Franklin P. Adams (1881–1960): Columnist at the New York Tribune, the New York World, and the New York Evening Post; wrote the “Always in Good Humor” and “The Conning Tower” columns. Always known as FPA.

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Robert Benchley (1889–1945): Vanity Fair managing editor, Life drama editor, humorist and actor in short films.

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Heywood Broun (1888–1939): Sportswriter at New York Tribune, columnist at New York World, author; helped found Newspaper Guild.

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Marc Connelly (1890–1980): Newspaperman turned playwright; cowrote plays with George S. Kaufman. Won Pulitzer Prize for play The Green Pastures.

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Edna Ferber (1887–1968): Novelist and playwright. Cowrote plays with George S. Kaufman, including Dinner at Eight. Won Pulitzer Prize for her novel So Big. Wrote Show Boat, Saratoga Trunk, Cimarron, and Giant.

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Ruth Gordon (): American film, stage, and television actress, as well as a screenwriter and playwright. Later in life starred in Harold and Maude.

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Margalo Gillmore (1897–1986): Actress and “the baby of the Round Table.” Starred in early Eugene O’Neill plays.

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Jane Grant (1892–1972): First female New York Times general assignment reporter; co-founded The New Yorker with husband Harold Ross.

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Ruth Hale (1887–1934): Broadway press agent, helped pass Nineteenth Amendment for women’s rights, married Heywood Broun.

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Margaret Leech Pulitzer (1894–1974): Magazine short story writer turned serious historian. Married Ralph Pulitzer; after his death, she earned two Pulitzer Prizes in history.

Alice Duer Miller (1874-1942):  A writer from the U.S. whose poetry actively influenced political opinion. Her feminist verses made an impact on the suffrage issue.

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Neysa McMein (1888–1949): Popular magazine cover illustrator, painter. Wrote about party games.

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Herman J. Mankiewicz (1897–1953): Press agent, early New Yorker drama critic; cowrote plays with Kaufman, produced Marx Brothers movies. Won an Oscar for co-writing Citizen Kane.

 

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Brock Pemberton (1885–1950): Broadway producer and director. Wrote short stories.

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Harold Ross (1892–1951): Founded The New Yorker with his wife, Jane Grant.

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Arthur H. Samuels (1888–1938): Editor of Harper’s Bazaar.

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Robert E. Sherwood (1896–1955): Vanity Fair drama editor, Life editor, author, playwright who won four Pulitzer Prizes. Won Oscar for writing The Best Years of Our Lives.

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Laurence Stallings (1895–1968): Ex-reporter, editorial writer for New York World. Collaborated with Maxwell Anderson on What Price Glory?

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Donald Ogden Stewart (1894–1980): Author, playwright, screenwriter. Won Oscar for The Philadelphia Story.

Frank Sullivan, who became best known for his articles and Christmas poems in The New Yorker, lived most of his life in Saratoga Springs.  Forty years after his death, Frank Sullivan’s career as a writer is being rediscovered and celebrated in his hometown. Photo courtesy Saratoga Room at Saratoga Springs Public Library

Frank Sullivan (1892–1976): Journalist turned humorist. longtime contributor to The New Yorker.

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Deems Taylor (1886–1966): Music critic turned populist composer. Wrote libretto for The King’s Henchmen with Edna St. Vincent Millay. Started national concert series. Narrator of Disney classic Fantasia.

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John V. A. Weaver (1893–1938): Poet who wrote in street vernacular, literary editor of the Brooklyn Eagle

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Peggy Wood (1892–1978): Actress in musical comedies, plays, early TV star.

 

 

https://www.biography.com/news/algonquin-round-table-members

 

 

The Contours – Do You Love Me

The first time I heard this song was the Dave Clark Five’s version. It was written by Motown president Berry Gordy Jr, who wrote it for The Temptations, but they failed to arrive for the recording session. At the same time but in a different Motown studio, The Contours arrived to record “It Must Be Love,” but Gordy had other ideas – he asked them to cut “Do You Love Me” instead. The song became one of Motown’s first hits.

The song peaked at #3 in the Billboard 100 in 1962. This would be The Contours last top 40 hits although they would place 8 songs in the top 100.

From Songfacts

Joe Billingslea of The Contours told Mojo magazine February 2009 the story of this song: “We had just left the record hop and we turned at the studio. The doors were always open in those days. Berry was down there at the piano and he said ‘I want you to try this song I’m writing.’ He told us how he wanted the backgrounds to go and we sang it. ‘Try it again, I didn’t quite like it,’ he said. After about the third time he said, ‘That’s not right. I think I’ll give it to The Temptations instead.’ I told him not to. We did it again and he said, ‘That’s exactly how I want it. Come in tomorrow morning, we’re going to record it.’ So we did.

I didn’t like the song. It reminded me of ‘Twist And Shout.’ I said: ‘This song ain’t gonna do nothin’, man.’ That same week it was released and the following week it made the charts. I turned around and said: I love that song! Did I change my opinion? Of course! We realized later that The Temptations could never have sung that song because it wasn’t suited to them but Berry had motivated us to sing it the way he wanted it.”

This song peaked in popularity just as Motown launched their first “Motortown Revue” tour to showcase their acts. The Countours were stars of the show, igniting crowds with “Do You Love Me.” Lower on the bill were some other Motown acts that had yet to hit, including Marvin Gaye, Little Stevie Wonder, and The Supremes.

After being featured in the 1988 movie Dirty Dancing, this was re-released 26 years after it was originally recorded. This time, it charted at #11. The song was a good fit for Dirty Dancing, which despite featuring some modern, original songs, was set in 1963. This was a great song of that era for a dance scene.

The Dave Clark Five recorded this in 1964 as the British Invasion was underway. Their rendition hit #11 in the US. On March 8, 1964, The DC5 played it on the first of their 12 appearances on The Ed Sullivan Show.

In his autobiography To Be Loved, recalls a confrontation with Motown’s primary bass player, James Jamerson, over this song. Jamerson, who is lauded as a creator of the Motown sound, was playing a jazz beat during the session despite Berry’s instructions. “You’ve got to stay on the f–kin’ downbeat,” Berry told him, hoping he wouldn’t have to kick his star bassist out of the session. When they rolled for the next take, Jamerson did as instructed, playing the Pop groove Gordy requested… until Berry took his eyes off him. “In that split second, Jamerson hit four or five Jazz upbeats in rapid succession,” Gordy recalled. “I turned to let him have it, but before I could say anything he had jumped back on the downbeat so brilliantly I could only smile.”

In 1963, London group Brian Poole And The Tremeloes recorded a version that topped the charts in 16 countries including the UK.

This song featured in a 2016 Pepsi commercial starring Janelle Monáe. In the spot, which debuted during the Super Bowl, Monáe dances to the song before entering another room where she goes through a time warp and joins in the celebration to Madonna’s “Express Yourself.”

Do You Love Me

You broke my heart ’cause I couldn’t dance,
You didn’t even want me around
And now I’m back to let you know I can really shake ’em down

Do you love me? (I can really move)
Do you love me? (I’m in the groove)
Now do you love me?
(Do you love me now that I can dance?)
Watch me, now
(Work, work) ah, work it out baby
(Work, work) well, I’m gonna drive you crazy
(Work, work) ah, just a little bit of soul, now?
(Work)
Now I can mash potatoes (I can mash potatoes)
I can do the twist (I can do the twist)
Tell me, baby, do you like it like this?
Tell me (tell me) tell me

Do you love me?
Do you love me, baby?
Now do you love me?
(Do you love me now that I can dance?)
Watch me, now
(Work, work) ah, work it out baby
(Work, work) well, I’m gonna drive you crazy
(Work, work) you are getting kind of cold, now
(Work)
(Work, work) with just a little bit of soul, now ?
(Work, work) come on, come on now
(Work, work) I’m gonna drive you crazy
(Work)
I can mash potatoes
I can do the twist
Well now, tell me, baby, do you like it like this?
Tell me (tell me) tell me

Do you love me?
Do you love me, baby?
Do you love me?
Do you love me?
Now that I can dance
(Work, work) ah, work it out baby
(Work, work) well, I’m gonna drive you crazy
(Work, work) oh you are getting kind of cold, now
(Work)
(Work, work) with just a little bit of soul, now
(Work, work) now don’t you get kinda bold, now?
(Work, work) oh, work it out, baby

Groucho Marx Quotes

Groucho had the best one-liners than just about anyone else.

“Please accept my resignation. I don’t care to belong to any club that will have me as a member”

“I was married by a judge… I should have asked for a jury”

“A man’s only as old as the woman he feels”

“As soon as I get through with you, you’ll have a clear case for divorce and so will my wife

“I married your mother because I wanted children, imagine my disappointment when you came along”

“Behind every successful man is a woman, behind her is his wife”

“Women should be obscene not heard”

“Marriage is the chief cause of divorce”

“Marriage is a wonderful institution but who wants to live in an institution?”

“Those are my principles If you don’t like them I have more”

“You’ve got the brain of a four-year-old boy, and I’ll bet he was glad to get rid of it ”

“Who are you going to believe, me or your lyin’ eyes?”

“Paying alimony is like feeding hay to a dead horse”

“Remember men, you are fighting for this lady’s honor; which is probably more than she ever did”

“Last night I shot an elephant in my Pajamas and how he got in my pajamas I’ll never know”

“I worked myself up from nothing to a state of extreme poverty”

 

 

The Marx Brothers

Describing the Marx Brothers in their Paramount movies is like describing a hurricane and a car wreck combined. The brothers were in vaudeville from the early 1900s to 1924 where they finally made it to Broadway in a play called “She Say’s It Is”. Broadway audiences had never seen anything like them. They literally tore up the stage with being so energetic. The brothers’ names were Julius (Groucho), Adolph (Harpo), Leonard (Chick-o) and Herbert (Zeppo). They had another brother that was not in the act Milton (Gummo).

Groucho was always in a power position in the plays and movies. Harpo and Chico would be there to take him down a few notches. Zeppo would be the straight man. Harpo, of course, would play the harp in a musical part, Chico would play the piano and Groucho would sometimes play the guitar…but the comedy is what everyone came to see.

They started movies around 1928 and again no one had ever seen anything like them on screen. The five movies they made for Paramount were Coconuts, Animal Crackers, Monkey Business, Horse Feathers and Duck Soup. These movies were anarchist chaos. After 1933 they signed a deal with MGM and their movies were tamed down to have more of a storyline and some were good but never matched the wildness of the Paramount movies where they had no respect for authority and lived and talked by their own rules. Groucho would say things that we would love to say in real life but we could never get by with it…he would say them in real life…and get by with it.

They are hard to compare to anyone else. The Three Stooges were not the same comedy whatsoever. In the 1970s college students were drawn to the Marx Brothers and their popularity went up with college students standing in lines around the block to see Animal Crackers in a theater. Their movies are still relevant today and can be enjoyed by every generation…

Harpo is my favorite…who never said a word in any film. He was a master of prop comedy and he could have been a big star in silent comedy. He was also a really good harp player also. He wrote one of the best autobiographies (Harpo Speaks!) I’ve ever read. For fans it’s great and for the average person, it’s an interesting read. The book is what first got me into the Marx Brothers.

 

harpo-marx-2.jpg

Beatles – Helter Skelter

Bono once said before playing the song  “This is a song Charles Manson stole from The Beatles, well we’re stealin’ it back.” Charles Manson did, in fact, hijack the song from the Beatles. The song is about an amusement park attraction (not a coded message to Charlie). A “Helter Skelter” is an amusement ride popularized mostly in the U.K. with a slide built in a spiral around a high tower. Paul McCartney read an interview with Pete Townshend saying that the Who just recorded the loudest, rawest and dirtiest song ever…it was “I Can See For Miles.” A great song… but not what Townshend described it as exactly…

Paul then started to write a song that fit that description and went above it. Helter Skelter was recorded with all four Beatles in studio two with their amps on 11. It’s a great brutal hard rock song. It was one of the rawest songs ever released by a well-known band at that time. If I hear someone call the Beatles only a pop band…I just point them to this song. Covers of this song range from Motley Crue who despite their image their version sounds light compared to this, Pat Benatar version is not up to this one…U2’s version tries but no version gets close to the Beatles version in rawness. Some credit this song as one of the inspirations of Heavy Metal…

This song fits great on the White Album. The album is the most diverse the Beatles ever made. On the same album, you have Helter Skelter, Rocky Racoon, Sexy Sadie, Honey Pie, Back In The USSR, Blackbird, While My Guitar Gently Weeps, Revolution Nine and many more.

 

Helter Skelter

When I get to the bottom I go back to the top of the slide
Where I stop and I turn and I go for a ride
Till I get to the bottom and I see you again

Yeah, yeah, yeah, heh, heh, heh, heh
But do you, don’t you want me to love you?
I’m (Ahhh) coming down fast but I’m miles above you
(Ahhh) Tell me, tell me, tell me, come on tell me the answer

Well, you may be a lover but you ain’t no dancer
Now
Helter skelter

Helter skelter
Helter skelter
Yeah!
Woo!, hoo!

A Will you, won’t you want me to make you?
(Ahhh)
I’m coming down fast but don’t let me break you
(Ahhh)

Tell me, tell me, tell me the answer
You may be a lover but you ain’t no dancer

Look out!
Helter skelter
Helter skelter

 

Charlie Rich – Mohair Sam

It’s a song by Charlie Rich who is more known as a country artist and his 1970s hits “Behind Closed Doors” and “The Most Beautiful Girl” off of his album Behind Closed Doors. This is not like Rich’s other hits but it’s a good song.

I first heard about this song when I read The Beatles were listening to this song when they met Elvis and Elvis had it on his jukebox when they all met. The song peaked at #21 in the Billboard 100 in 1966. The song became a hit, ending up in the top 30 on the pop charts.

Charlie played piano on Sun Records in the late 1950s and early 1960s, and then signed with Grove records…after that, he signed with Smash records and this was his first release on that label.

The song was written by Dallas Frazier who also wrote “Elvira”…the song that the Oak Ridge Boys made famous.

Mohair Sam

Well – who is the hippie that’s happenin’ all over our town?
Tearin’ up chicks with the message that he lays down
Who is the coolest guy, what is, what am?
That’s fast-talkin’ – slow walkin’ – good-lookin’ Mohair Sam
Chicks are making reservations for his lovin’ so fine (so fine)
Screamin’ and shoutin’ he’s got ’em all waitin’ in line
Who is the coolest guy, what is, what am?
That’s fast-talkin’ – slow walkin’ – good-lookin’ Mohair Sam
Who is the hippie that’s happenin’ all over our town?
Tearin’ up chicks with the message that he lays down
Who is the coolest guy, what is, what am?
That’s fast-talkin’ – slow walkin’ – good-lookin’ Mohair Sam

Deep Purple – Woman from Tokyo

This song is all about the riff…it is a memorable riff… The song has drive and suspense. Woman from Tokyo peaked at #60 in 1973. This is one of the group’s most popular songs, but they never liked it very much. They didn’t start playing it live until they re-formed in 1984 after their 1976 split.

Because of endless touring and fatigue, Ian Gillan gave a six-month notice and stated that he was leaving the band after fulfilling all of his commitments in 1973. The album Who “Do We Think We Are” was released in January of 1973. The release generated the hit single “Woman from Tokyo.” “Smoke on the Water” was also busy that year becoming Deep Purple’s biggest hit of all-time.

After lead singer Ian Gillian left Deep Purple in 1973 they had two other lead singers before reforming in 1984…and they were David Coverdale and Joe Lynn Turner.

From Songfacts

Deep Purple started recording their Who Do We Think We Are in Rome in July 1972. At this point, the band had yet to tour Japan, but they had three shows scheduled there for August: two in Osaka followed by one at the Budokan arena in Tokyo. Drawing on Japanese imagery (“the rising sun,” “an Eastern dream”), they concocted a story of a lovely lady from that country who drives them wild.

Rome was sunny and relaxing, so the band spent a lot of time in the swimming pool in lieu of working. There was also a sound problem in the studio, and the only track they got out of those sessions was “Woman From Tokyo.” The rest of the album was done in Germany.

In 1973, this was issued as a single, achieving a modest chart position of #60 in America. It aged well and got a lot of airplay on AOR and Classic Rock radio stations, keeping it alive. The stretched out “Toe-Key-Oh” became a bit of an earworm and helped embed the song into many an auditory cortex.

On some compilations from the ’70s, this song is listed as “live,” which Roger Glover insists is a lie, since they never did the song live in that decade.

Woman from Tokyo

Fly into the rising sun
Faces, smiling everyone
Yeah, she is a whole new tradition
I feel it in my heart

My woman from Tokyo
She makes me see
My woman from Tokyo
She’s so good to me

Talk about her like a Queen
Dancing in a Eastern Dream
Yeah, she makes me feel like a river
That carries me away

My woman from Tokyo
She makes me see
My woman from Tokyo
She’s so good to me

But I’m at home and I just don’t belong 

So far away from the garden we love
She is what moves in the soul of a dove
Soon I shall see just how black was my night
When we’re alone in Her City of light

Rising from the neon gloom
Shining like a crazy moon
Yeah, she turns me on like a fire
I get high

My woman from Tokyo
She makes me see
My woman from Tokyo
She’s so good to me