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.
This song was on the Imagine album and I heard it in more than one documentary about him. This song is about John being vulnerable which is not as typical of him.
This song was written after the Beatles broke up plus after the primal scream therapy of Dr Arthur Janov. What is Primal Scream Therapy? I found this definition: psychotherapy in which the patient recalls and reenacts a particularly disturbing past experience usually occurring early in life and expresses normally repressed anger or frustration, especially through spontaneous and unrestrained screams, hysteria, or violence.
When the Beatles broke up, John and Paul dove headfirst into their individual careers. Paul jumped straight into pop and Lennon dived into writing what he thought was the truth and setting it to a backbeat. They were not going to veer from their respective targets. You could tell they didn’t have each other to hold the other back anymore. That is what the Beatles had as a whole that the two head Beatles didn’t anymore. George just went on… already accustomed to writing alone but John and Paul had no brakes or guard rails.
For John, it paid off in two brilliant albums off the bat that probably would not have been the same with The Beatles. With Paul, it paid off with Ram but with just an OK debut album. After these first two albums, John seemed to lose some of his edge and Paul took a while but finally gained more confidence until he made his masterpiece Band On The Run released late in 1973.
Imagine peaked at #1 on the Billboard Album Charts and in the UK. It also peaked at #2 in Canada in 1971.
I’ve always read and seen interviews where Ozzy Osbourne is a huge fan of the Beatles and John Lennon. Ozzy Osbourne released a cover of this song in support of Amnesty International during the same week John Lennon would have turned 70. Ozzy sticks very close to John’s version of the song.
John Lennon on recording the Imagine album: We recorded it at home in our studio, Phil Spector produces with Yoko and I, so as we don’t go overboard and he doesn’t go overboard – we get a balance between the three of us. It was better than the first time, because now we know each other and we’ve done quite a lot of work together and we understand each other, so we know how to work better. That’s why it’s been quicker. We did the last one in ten days and we did this one in nine.
How?
How can I go forward when I don’t know which way I’m facing?
How can I go forward when I don’t know which way to turn?
How can I go forward into something I’m not sure of?
Oh no, oh no
How can I have feeling when I don’t know if it’s a feeling?
How can I feel something if I just don’t know how to feel?
How can I have feelings when my feelings have always been denied?
Oh no, oh no
You know life can be long
And you got to be so strong
And the world is so tough
Sometimes I feel I’ve had enough
How can I give love when I don’t know what it is I’m giving?
How can I give love when I just don’t know how to give?
How can I give love when love is something I ain’t never had?
Oh no, oh no
You know life can be long
You’ve got to be so strong
And the world she is tough
Sometimes I feel I’ve had enough
How can we go forward when we don’t know which way we’re facing?
How can we go forward when we don’t know which way to turn?
How can we go forward into something we’re not sure of?
Oh no, oh no
I first heard this version on television with the Band playing this song from their new album on David Letterman. I knew right away they picked the perfect song for them. It’s probably the best track they had since Robbie’s departure.
A decade earlier I bought the Nebraska album when it was released after I saw the video for this song. Bruce Springsteen wrote and recorded that album on a Tascam 4-track machine as a demo for the band. He tried to do the songs with the E-Street band, but they didn’t sound as good as the demo.
After carrying the cassette around in his pocket for weeks, they mastered it and made the Nebraska album…it was the demo. The album was only Bruce with an acoustic guitar with overdubs by him. It’s one of my all-time favorite songs and albums by Bruce… It’s a very powerful album. I didn’t ever think someone would cover any of those songs but The Band put their own spin on Atlantic City and it works.
On their album Jericho, The Band covered this song. This was The Band long after Robbie Robertson had left. Richard Manuel was dead by this point so you had Levon Helm, Rick Danko, and Garth Hudson of the original band left. Levon’s voice fits this song so well that it’s a toss-up which version I like the best.
A book came out in 2021 claiming that someone offered The Band 3 million dollars to reunite with Robbie Robertson for 20 or so shows in 1993 when Jericho was released. The plan fizzled out but that would have been interesting.
The first line, “They blew up the Chicken Man in Philly last night,” was taken from a newspaper article about a mob hit in Atlantic City. The “Chicken Man” was Phil Testa, the number two man in the Philadelphia Mob under Angelo Bruno.
After Bruno was murdered in his car, Testa was blown up by a bomb placed under his front porch. These hits were orchestrated by Nicky Scarfo, who took over the Philly boys so he could control the new Atlantic City gambling rackets. He made such a mess of things that he and most of his crew were either murdered or in jail within a few years.
Jericho peaked at #166 on the Billboard Album Charts and #50 in Canada in 1993. Atlantic City by the Band peaked at #37 in Canada.
Atlantic City
Well, they blew up the Chicken Man in Philly last night
And they blew up his house, too
Down on the boardwalk they’re ready for a fight
Gonna see what them racket boys can do
Now there’s trouble busin’ in from outta state
And the D.A. can’t get no relief
Gonna be a rumble on the promenade
And the gamblin’ commissioner’s hangin’ on by the skin of his teeth
Everything dies, baby, that’s a fact
But maybe everything that dies some day comes back
Put your makeup on, fix your hair up pretty
And meet me tonight in Atlantic City
Well, I got a job and I put my money away
But I got the kind of debts that no honest man can pay
So I drew out what I had from the Central Trust
And I bought us two tickets on that Coast City bus
Everything dies, baby, that’s a fact
But maybe everything that dies some day comes back
Put your makeup on, fix your hair up pretty
And meet me tonight in Atlantic City
Now our luck may have died and our love may be cold
But with you forever I’ll stay
We’ll be goin’ out where the sand turns to gold
But put your stockings on, ’cause it might get cold
Oh, everything dies, baby, that’s a fact
But maybe everything that dies some day comes back
Put your makeup on, fix your hair up pretty
And meet me tonight in Atlantic City
Now I’ve been a-lookin’ for a job, but it’s hard to find
There’s winners and there’s losers and I’m south of the line
Well, I’m tired of gettin’ caught out on the losin’ end
But I talked to a man last night, gonna do a little favor for him
Well, everything dies, baby, that’s a fact
But maybe everything that dies some day comes back
Put your makeup on, fix your hair up pretty
And meet me tonight in Atlantic City
Oh, meet me tonight in Atlantic City
Oh, meet me tonight in Atlantic City
One thing that Max Picks has taught me is that I haven’t posted as many hits as I truly like. I usually concentrate on the album cuts but songs like this I really like. This one is a good example. I thought for sure I did it before but never have. Well, I guess I’ve given away one Pick…
It was one of the very very very very…yes that is bad English…but what I mean to say is a VERY rare new song that our band played. See…I even liked older songs much more in the mid-eighties. We were already playing many CCR songs so this just fit right in perfectly. It seemed weird playing a song in the top 10 back then. It’s a fun easy riff to play on guitar. Something a beginner could do.
It was one of those songs in the mid-eighties that I could not get enough of. Real drums and real guitar riffs. Fogerty had been out of the spotlight since 1975…this single was released in December 1984 right before his great album Centerfield. I didn’t buy this single…I knew it was Fogerty so I just bought the album. It was Creedence in the 80s to me. His next album I won’t talk about as much but this was an instant classic. The album had Big Train From Memphis, I Saw It On TV, Centerield, and Rock and Roll Girls plus more very good songs. This is the song that signaled his comeback.
After it was released John had said the song was supposedly about “the devil” and that would be Saul Zaentz who owned all of Fogerty’s publishing from the CCR days. To top it off and make the song pretty much true…Saul Zaentz sued Fogerty for sounding like himself in this song. He claimed this song sounded like Run Through The Jungle…one that Fogerty wrote with Creedence. John has since said that Saul probably jumped into his mind after the lawsuit…and he developed that riff and just wrote around it.
The B-Side to this single was Big Train From Memphis (Below) which I loved. It’s one of my favorite Train songs. The song peaked at #10 on the Billboard 100, #12 in Canada, #11 in New Zealand, and #90 in the UK. Wow…I don’t guess the UK were Fogerty fans.
John Fogerty was in court playing the song on guitar to show how he wrote it and said this later: “Yeah, it’s the same interval. What am I supposed to do, get an inoculation? I proved that, no, I didn’t copy myself, I invented something new that really sounds a lot like me. Do you find fault with Elvis for sounding like Elvis? When McCartney sounds like McCartney or Dylan sounds like Dylan? No one else ever had to go through that.”
John DID win the court case. If he had lost that case…all hell would have broken loose on solo artists who left bands for a solo career that sounded like themselves.
Big Train From Memphis
Old Man Down The Road
He take the thunder from the mountain, he take the lightning from the sky, He bring the strong man to his begging knee, he make the young girl’s mama cry.
You got to hidey-hide, you got to jump and run; You got to hidey-hidey-hide, the Old Man is down the road.
He got the voices speak in riddles, he got the eye as black as coal, He got a suitcase covered with rattlesnake hide, and he stands right in the road.
You got to hidey-hide, you got to jump up run away; You got to hidey-hidey-hide, the Old Man is down the road.
Ah!
He make the river call your lover, he make the barking of the hound, Put a shadow ‘cross the window, when the Old Man comes around.
You got to hidey-hide, you got to jump and run again; You got to hidey-hidey-hide, the Old Man is down the road. The Old Man is down the road.
Ah! You got ta, you got ta, you got ta, hidey-hidey-hide!
I made a post about these guys in April 2023 and gave you all a sample platter of their songs. This one was included but let’s look closer and listen to this song. This band doesn’t mess about…they hit you head-on.
The lyrics were written by the lead vocalist and songwriter of The Godfathers, Peter Coyne. He did a good job of reflecting the emotions and sentiments associated with each stage of life portrayed in the song released in 1988.
Peter and Chris Coyne started the band in 1982 calling it the Side Presley Experience. By 1985 they had removed some members and brought in some more. They also made a name change to The Godfathers.
They wanted to record so they found a producer in Vic Maile who had worked with The Kinks, Who, and Motorhead. They released some singles in the UK and finally after seeing import sales they put together an album made up of singles and B sides plus they did a cover of John Lennon’s Cold Turkey and called it Hit By Hit (#3 in the UK).
Then came the call every band wants…Epic Records signed them to a contract. They released the single Birth, School, Work, Death in 1987. The following year they released an album with the same name. Birth, School, Work, Death peaked at #38 in the US Modern Rock Charts.
Birth, School, Work, Death
Been turned around till I’m upside down Been all at sea until I’ve drowned And I’ve felt torture, I’ve felt pain Just like that film with Michael Caine I’ve been abused and I’ve been confused And I’ve kissed Margaret Thatcher’s shoes And I been high and I been low And I don’t know where to go Birth, school, work, death Birth, school, work, death And heroin was the love you gave From the cradle to the grave Boys and girls don’t understand The devil makes work for idle hands I cut myself but I don’t bleed ‘Cause I don’t get what I need Doesn’t matter what I say Tomorrow’s still another day Birth, school, work, death Birth, school, work, death Yeah I been high and I been low And I don’t know where to go I’m living on the never never never This time it’s gonna be forever I’ll live and die don’t ask me why I want to go to paradise And I don’t need your sympathy There’s nothing in this world for me Birth, school, work, death Birth, school, work, death Birth, school, work, death Birth, school, work, death Birth, school, work, death Birth, school, work, death
A few weeks back Randy from Mostlymusiccovers was listing songs with Rock and Roll in the title and mentioned Robert Gordon. I knew I knew the name and I remember CB mentioning him a while back and I’ve been in a rockabilly mood recently and have been listening to him.
Bruce Springsteen wanted Elvis to do this song but Elvis died in 1977 soon after Bruce wrote it. Springsteen offered it to Robert Gordon after seeing him perform live. This 1977 recording features Link Wray on guitar and Springsteen on piano. “Fire” would become a hit later that year when it was recorded by the Pointer Sisters. After listening to it…I do understand why he offered it to Gordon. He did a fantastic job with it and yes…you can hear Elvis in his version.
The man sounds like he should have been born earlier and active through the fifties. He helped kickstart the worldwide rockabilly revival in 1977 with the release of his debut album, Robert Gordon With Link Wray, made in tandem with the guitar legend behind the 1958 instrumental hit Rumble.
Everyone thought he would be huge. His producer was Richard Gottehrer and he helped launch the careers of Madonna, Blondie, The Ramones, and The Talking Heads. Gordon did pave the way for future rockabilly acts like The Stray Cats that came in the 80s. He also shined a much-needed light on the legendary guitarist Link Wray. He saw Wray playing the oldies circuit and convinced Wray to play guitar with him.
Much like The Yardbirds and John Mayall…Gordon had a knack for picking great guitar players to play with him. Chris Spedding (a versatile session guitarist), Danny Gatton (toured with Roger Miller and others), Eddie Angel, Quentin Jones, and, most recently, Danny B. Harvey. Gordon’s 2020 album Rockabilly For Life had players such as Albert Lee, Steve Wariner, and the great Steve Cropper.
From 1977 to 2022 he made 12 studio albums and 4 live albums. Gordon died in 2022 of acute myeloid leukemia.
Robert Gordon: “I’ve always done my thing. I choose the songs, and I let the guitarists do their thing. I don’t step on their territory, but I like to hear what I like to hear, and it works out good. When you’re working with people like Chris Spedding and Danny Gatton, you don’t have to tell them too much. These guys have been there and done that, and they’re the best. I always let them do their thing before I open my mouth.”
Fire
I’m drivin’ in my car, you turn on the radio
I’m pullin’ you close, but you just say no
You say you don’t like it, but girl I know you’re a liar
‘Cause when we kiss, ooh, fire
Late at night, I’m chasin you home
I say I wanna stay, you say you wanna be alone
You say you don’t need me, but you can’t hide your desire
‘Cause when we kiss, ooh, fire
You’ve had a hold on me right from the start
It felt so good, I couldn’t tear it apart
Got my nerves all jumpin’, actin’ like a fool
‘Cause your kisses they burn, but your heart stays cool
Romeo and Juliet, Samson and Delilah
Baby, you can bet the love they couldn’t deny
Well, now your words say split, but your words they lie
‘Cause when we kiss, ooh, fire
In the seventies, I would sometimes sneak a peek at SNL when I was a kid. I wasn’t old enough to get the jokes but I liked the music. This was back when Lorne Michaels would actually take a chance and let someone play that wasn’t on the charts or “hot.” He was so different then. The way he looked, sounded and presented himself. You would expect Mark Twain to pop out at any moment.
This guy I could never forget. In the middle of disco and punk, he was a throwback from the 1920s or so. Leon Redbone’s musical style was shaped by his deep love for early jazz, blues, and country music. He spent countless hours studying the recordings of legendary artists from the 1920s and 1930s, seeking to recreate the sound and feel of that era. This dedication, coupled with his exceptional talent and passion for music, allowed him to develop a truly unique style that set him apart from his contemporaries.
Bob Dylan himself said that if he owned a record company, he would sign Leon Redbone. Soon thereafter, Leon Redbone did sign with a major label, Warner Brothers.
Redbone was one of the best vocalists of his time. He basically gave 1970’s audiences vintage music at a time when nobody was asking for it. He mixed blues of various dialects and included them in his musical performances along with early country, ragtime, tin pan alley favorites, and songs from America. He played music that was so far out of the mainstream he was labeled an eccentric. The truth of the matter was that it was beautiful music played brilliantly.
This song was off on his 1994 album Whistling in the Wind. If you want something different find some Leon Redbone, sip on a Mint Julep, and enjoy life. I wish I would have caught him live in concert. He passed away on May 30, 2019, at the age of 69.
I Ain’t Got Nobody
I ain’t got nobody and nobody cares for me
I got the blues, the weary blues
There’s a saying going ’round and I begin to think it’s true
It’s awful hard to love someone, when they don’t care ’bout you
Once I had a lovin’ man, as good as many in this town
But now I’m sad and lonely, for he’s gone and turned me down, now
I ain’t got nobody and nobody cares for me
I got the blues, the weary blues
And I’m sad and lonely, won’t somebody come and take a chance with me?
I’ll sing sweet love songs honey, all the time
If you’ll come and be my sweet baby mine
‘Cause I ain’t got nobody, and nobody cares for me
Won’t somebody go and find my man and bring him back to me
It’s awful hard to be alone and without sympathy
Once I was a loving gal, as good as any in this town
But since my daddy left me, I’m a gal with her heart bowed down
Well I wonder where the Louisiana sheriff went to?
I can still see the 8-track of Jerry Reed’s greatest hits in my stepdad’s truck. Jerry was a great guitar player but that gets lost sometimes because of his later acting career. He played guitar on his own recordings, as well as on sessions for Elvis, Bobby Bare, Porter Wagoner, Joan Baez, Ringo Starr, Willie Nelson, and others.
Whenever I read or think about the best guitarists…I think Jimi Hendrix (my favorite), Eric Clapton, Duane Allman, Jimmy Page, SRV, and others. Some guitarists seem to be left out in the country field. Jerry Reed, Roy Clark, and perhaps the greatest of them all…Glen Campbell. Jerry Reed’s style is what I always called “chicken picking” and he was one of the greats.
Frankly, I was surprised when I checked Billboard and saw how successful he was in the charts. He had 51 songs in the Country 100 charts…including three number 1’s and six top ten hits. In the Billboard 100, he had ten songs in the top 100 including two top 10 hits. Amos Moses was one of them… peaking at #8 in the Billboard 100 and #16 in the Country Charts in 1971…The other song was When You’re Hot, You’re Hot at #9.
The song’s popularity further established Reed as a prominent figure in the country music scene. His last number-one in the country charts was “She Got the Gold Mine (I Got the Shaft)” in 1982… Why did I mention it? How could I not with a title like that?
The song appears in the video game Grand Theft Auto: San Andreas. Chet Atkins produced this recording.
This is from Guitar Player magazine.
WHEN PEOPLE TALK ABOUT UNDERRATED guitarists, the name Jerry Reed often doesn’t even come up. That’s how underrated Jerry Reed is. More often viewed as an actor, singer, or variety show regular, Reed possessed mindboggling guitar technique that incorporated intricate fingerpicking, gorgeous cascading harp-style runs, and an infectious, funky sense of rhythm and humor. He got his start as a songwriter, penning “Crazy Legs” (which would be covered by Gene Vincent and later inspire an album of the same name by Jeff Beck) and “Guitar Man,” which caught the ear of Elvis Presley. By the mid-’60s, Mr. Guitar himself, Chet Atkins, had taken note of Reed’s amazing fingerstyle prowess and began producing and collaborating with Reed, most notably on the albums Me & Jerry and Me & Chet.
Amos Moses
Yeah here comes Amos
Now Amos Moses was a Cajun
He lived by himself in the swamp
He hunted alligator for a living
He’d just knock them in the head with a stump
The Louisiana law gonna get you Amos
It ain’t legal hunting alligator down in the swamp boy
Now everyone blamed his old man
For making him mean as a snake
When Amos Moses was a boy
His daddy would use him for alligator bait
Tie a rope around his neck and throw him in the swamp
Alligator bait in the Louisiana bayou
About forty-five minutes southeast of Tippitoe, Louisiana
Lived a man called Doc Mills South and his pretty wife Hannah
Well, they raised up a son that could eat up his weight in groceries
Named him after a man of the cloth
Called him Amos Moses, yeah
Now the folks around south Louisiana
Said Amos was a hell of a man
He could trap the biggest, the meanest alligator
And he’d just use one hand
That’s all he got left cause an alligator bit it
Left arm gone clear up to the elbow
Well the sheriff caught wind that Amos was in the swamp trapping alligator skin
So he snuck in the swamp gonna get the boy
But he never come out again
Well I wonder where the Louisiana sheriff went to
Well you can sure get lost in the Louisiana bayou
About forty-five minutes southeast of Tippitoe, Louisiana
Lived a cat called Doc Mills South and his pretty wife Hannah
Well, they raised up a son that could eat up his weight in groceries
Named him after a man of the cloth
Called him Amos Moses
Sit down on ’em Amos!
Make it count son
About forty-five minutes southeast of Tippitoe, Louisiana
Lived a man called Doc Mills South and his pretty wife Hannah
I’ve been in a J.J. Cale mood for a while so here is another one of his songs made popular by someone else and he was happy about it.
Like Eric Clapton… Lynyrd Skynyrd helped Cale finance his lifestyle, allowing him to release albums in a leisurely fashion. Cale didn’t like fame and tried to avoid it. On his first seven albums, he didn’t include a picture of himself.
Of Skynyrd’s rendition of “Call Me the Breeze,” Cale said that it afforded him the money to have more freedom in how and when he made his music and was always honored when other artists covered his songs. This was a popular song by the band but never was released as a single. It has become a staple of classic rock radio though since the format started. It appeared on Second Helping released in 1974.
Instead of following Cale’s more stripped-back lead on the track, Skynyrd amped the song up with a more rock style. With Van Zant’s vocals and King, Collins, and Rossington’s guitars it became a concert favorite. Throughout the years, “Call Me the Breeze” has been covered by Johnny Cash with his son John Carter Cash, Shooter Jennings, Bobby Bare, Peter Frampton, John Mayer, and more.
When Cale died in 2013 from a heart attack, Clapton paid tribute to his friend by including a rendition of “Call Me the Breeze” and other tracks for a Cale tribute album in 2014, The Breeze: An Appreciation of JJ Cale, which also features Willie Nelson, Tom Petty, Mark Knopfler, and John Mayer.
Lynyrd Skynyrd thought a lot of J.J. Cale. They didn’t record covers very often but they covered Cale twice with this one and a song called Same Old Blues off of the 1976 album Gimme Back My Bullets.
Call Me The Breeze
Call me the breeze
I keep blowin’ down the road
Well now they call me the breeze
I keep blowin’ down the road
I ain’t got me nobody
I don’t carry me no load
Ain’t no change in the weather
Ain’t no changes in me
Well there ain’t no change in the weather
Ain’t no changes in me
And I ain’t hidin’ from nobody
Nobody’s hidin’ from me
Oh, that’s the way it’s supposed to be
Well I got that green light baby
I got to keep movin’ on
Well I got that green light baby
I got to keep movin’ on
Well I might go out to California
Might go down to Georgia
I don’t know
Well I dig you Georgia peaches
Makes me feel right at home
Well now I dig you Georgia peaches
Makes me feel right at home
But I don’t love me no one woman
So I can’t stay in Georgia long
Well now they call me the breeze
I keep blowin’ down the road
Well now they call me the breeze
I keep blowin’ down the road
I ain’t got me nobody
I don’t carry me no load
Oooh Mr Breeze
Kinks – Come Dancing – I saw the Kinks on this tour. It remains one of the best concerts I’ve ever been to…if not the best. They were in their early forties at this point and all over the stage. This song got heavy play on MTV at a time when I watched it. The Kinks are one of the four walls that make up modern rock including The Beatles, Who, and Stones.
Dexys Midnight Runners – Come On Eileen – It was very different than what was on the radio at the time. It was a refreshing song to hear in the early eighties.
I really thought this band would score another hit but they ended up a one-hit wonder in America…one thing that didn’t help was when they were opening up for David Bowie in France, Kevin Rowland called Bowie a bad copy of Bryan Ferry and later he told the British press: “We only agreed to the show because France is an important market for us – not because I have any respect for Bowie”… Not a smart thing to do.
Billy Joel – Allentown – A great single by Billy Joel with a song off of the Nylon Curtain album.
Allentown is a town in Northeast Pennsylvania about 45 minutes away from the Pocono mountains. An industrial town, many of the once-thriving factories and mills had fallen on hard times when Joel wrote the song, and unemployment in the area was at an all-time high of 12%.
Also mentioned in the song is nearby Bethlehem, Pennsylvania, whose main employer, Bethlehem Steel, had been closing operations. Joel sings about the unemployed workers in the line, “Out in Bethlehem they’re killing time, filling out forms, standing in line.”
Judas Priest – Living After Midnight -I liked this one the first time I heard it. I never really cared what a band was…as long as they sounded good…and this does.
John Lennon has a distant connection to this song. Judas Priest was renting Tittenhurst Park (John Lennon’s former home) in 1980 to record their album British Steel. As they were watching television…guitarist Glenn Tipton said they saw John Lennon’s Imagine video and were in the very same room where it was filmed… he said they could imagine the piano and the white walls…and how surreal it was…
Rob Halford actually got the inspiration for the lyrics for Living After Midnight as his bandmates kept him awake by blasting out riffs and drum beats in the studio below.
He came downstairs to complain and said, Hey, guys, come on. It’s gone midnight…and they wrote the song.
Madness – Our House – At the start of MTV the small town I lived in had yet to get cable…but it wouldn’t take too long. At that time I had to travel to relatives in Nashville before I got a chance to see it. I would spend the weekend and we would watch MTV for hours at a time. Binge-watching before binge-watching was a saying. We would wake up bleary-eyed the next day and turn on more MTV.
I did find some music I never heard before. This band and song caught my attention. The song was on the The Rise & Fall album. They were different…they have been described as a British ska and pop band.
This was Madness only top-10 hit in the US. Much of the song’s success in America was helped out by the clever music video that was in heavy rotation in the early days of MTV.
I never go too long without watching this movie because I love it. It started a new style of comedy movies although the copies never measured up to the guys at the Delta Tau Chi fraternity.
This was an ensemble movie but make no mistake…it was built around the force of nature that was John Belushi. Lorne Michaels has said that Belushi lived 3 different lives a day with 3 eight hour shifts. A set of different friends for each shift. Belushi hung out with rock stars, authors, and actors constantly. Keith Richards, Ronnie Wood, Bill Kreutzmann, Robin Williams, Robert de Niro, Akyroyd, and also with Hunter S. Thompson. The rock equivalent would probably be Keith Moon.
The movie changed college life forever. My dad took me to a Tennessee Vol game in the early eighties, around 2-3 years after this movie. I walked around campus and out of two different dorms I heard Louie Louie blasting and yes a party going on at 10am.
Movies…some that were inspired by this movie were the American Pie films, Old School, and The Hangover. The movie also opened the door to music comedies. The playing of classic rock and R&B songs in the movie. Like the Blues Brothers that came the following year…they shined the light on some early classic songs. It also spawned some terrible knockoff movies but it’s not its fault.
I love watching the adventures of Bluto, D-Day, Pinto, Otter, Flounder, Hoover, Stork, and the list goes on. Some great scenes in this movie are The Cafeteria scene with Bluto (See if you can guess, what I am now), the initiation, the bar scene, and so on…the ending is great.
This is on many lists of movies that have been deemed “Politically Incorrect”…that makes me want to watch it even more.
The album Running On Empty album was always very interesting to me. He basically made a new album in front of audiences and in hotels. The songs were not his old songs…they were songs he would have ordinarily gone into a studio with. This song was recorded at the Merriweather Post Pavilion in Columbia, Maryland on August 27, 1977. It was the first live rock album with all new songs.
The album and song were about life on the road in all its glory and squalor. To emphasize this notion even further, Browne literally recorded the album on the road, in hotel rooms, on buses, and, in the case of “Running On Empty,” on stage.
The dates and ages given in the song (“In ‘65 I was seventeen” and “In ‘69 I was 21”) synch up with Jackson’s own timeline. He imagines a life spent running for so long that it becomes difficult to know where it all started or where it will end. He is not looking back in the song…he sings it in the present tense. He wrote about himself and where he was at in 1978.
In 1976 Browne had a terrible year. His wife, model Phyllis Major, had committed suicide, leaving Browne to raise their toddler son alone. The grief of her death permeated his fourth album, The Pretender. You can hear it in the single off of that album, “Here Come Those Tears Again,” co-written by Major’s mother, Nancy Farnsworth.
The song’s title track and opening cut blasted strong right out of the gate, landing on radio playlists across the country as the single soared up the charts. The single peaked at #11 on the Billboard 100 and #4 in Canada.
The album peaked at #3 on the Billboard Album Chart in 1978. and #8 in Canada (the best I can find) in 1978.
Jackson Browne: “I’ve always been real close with my crew, as a matter of fact, the guy who’s my manager now. Lines like, “The first to come and the last to leave,” come from him. His name’s Buddha. He’s a guy that you’d wind up spending an incredible amount of time with… people that you’d get to know because the closeness. These guys work really hard, and at least in those days they really did make practically the minimum wage.”
Running On Empty
Looking out at the road rushing under my wheels
Looking back at the years gone by like so many summer fields
In sixty five I was seventeen and running up 101
I don’t know where I’m running now, I’m just running on
Running on, running on empty
Running on, running blind
Running on, running into the sun
But I’m running behind
Gotta do what you can just to keep your love alive
Trying not to confuse it with what you do to survive
In sixty-nine I was twenty-one and I called the road my own
I don’t know when that road turned, into the road I’m on
Running on, running on empty
Running on, running blind
Running on, running into the sun
But I’m running behind
Everyone I know, everywhere I go
People need some reason to believe
I don’t know about anyone but me
If it takes all night, that’ll be all right
If I can get you to smile before I leave
Looking out at the road rushing under my wheels
I don’t know how to tell you all just how crazy this life feels
Look around for the friends that I used to turn to to pull me through
Looking into their eyes I see them running too
Running on, running on empty
Running on, running blind
Running on, running into the sun
But I’m running behind
Honey you really tempt me
You know the way you look so kind
I’d love to stick around but I’m running behind
You know I don’t even know what I’m hoping to find
Running into the sun but I’m running behind
The list below has grown so much since I started to do this a few years ago. If I forgot you…please forgive me. But Happy New Year 2024.
I want to thank everyone who has read my blog this year and the last few years. I ran this post last year and I’ve added more names. It’s so much fun communicating with all of you. I’ve been told my blog is a place people come to comment like sitting around a campfire. That is the way I hope it is. I’m not a real writer so I just write as if I’m talking to you in a room. I hope many of you find other bloggers at my place with things in common.
In 2017 I would not have believed I would communicate with people in different states across America and the world…such as New Zealand, The UK, Hong Kong, Germany, Columbia, Australia, India, France, Sweden, Spain, and more! I’m also learning more about new music, old new music, cool old and new movies, and most of all…people. I comment way too much at times but it’s a lot of fun learning.
I’ve commented with you all, emailed many of you, talked to some of you over the phone, and met one of you. Thank you all once again.
I’ve even listened to Heavy Metal and Canadian bands from Canadians Deke and Dave and became friends with both.
A fellow Big Star and mid-60s pop/rock fan and one of the best commenters I have…I’ve learned a lot from him… Obbverse
Off-the-radar songs and movies, and everything cool… from Cincinnati Babyhead (CB) Thanks for opening up more music for me.
I’ve read great stories and poems for really the first time from Lisa, Obbverse, and Bruce. I still don’t know much about poems but I’m learning. Thanks to all of you…I consider all of you friends.
Lisa is the biggest George Harrison fan I know…and that is a great thing.
randydafoe who has a huge knowledge of music covers and music in general. When I have a question…I bug Randy!
halffastcyclingclubfor his insightful comments on different posts. He has taught me a lot about music and bikes!
Learned about new music from Jeff, Graham, and Christian. If you want the best of new music…these are the 3 are the places to go. They don’t overlap much at all which is great…you get a good variety.
Christian … we have VERY similar taste and it was great to talk to him the other day on the phone.
How radio really works and more about family from Keith… Keith
Ra Na-Gedwho I have appreciated coming to the blog…who had one of the best comments of the year with: Elvis may be king, but Otis had the Voice of God.
Again if I missed anyone I’m sorry…I just ran through this off the top of my head.
Thanks to everyone and have a Happy New Year to you and your family from Powerpop.blog (and it’s curator…Max). We survived 2020, 2021, 2022, 2023…lets make this one better!
I love tradition so here we are again! Happy New Year 2024.
For the past few years, this has been my first post in the New Year. If you have followed me for a while you should know this one.
Next to Auld Lang Syne, this is my favorite New Year’s Song. A favorite of mine from one of my favorite bands. Everyone… I wish you a Happy New Year in 2024.
You didn’t have to read my blog but you did and I really appreciate it…I want to thank all of you for reading and commenting in 2023.
This song sounds like it should have been a hit but it was never pushed as a single at the time. It was the B side to Butcher’s Tale (Western Front 1914) which is an experimental song and was a big surprise to the band that it was picked as the first single. Both are from the great album Odessey and Oracle in 1968. Several songs on this album could have been in the charts but Time of the Season was the only one that made it and it was a year after the album was released.
Bruce Eder of AllMusic gave the album five stars out of five, calling it “one of the flukiest (and best) albums of the 1960s, and one of the most enduring long-players to come out of the entire British psychedelic boom”.
On recording Odessey and Oracle…Rod Argent:
“We had the chance of going in and putting things down in the way we wanted people to hear them and we had a new studio, we walked in just after The Beatles had walked out [after recording Sgt. Pepper]. We were the next band in. They’d left some of their instruments behind … I used John Lennon’s Mellotron, that’s why it’s all over Odessey and Oracle. We used some of their technological advances … we were using seven tracks, and that meant we could overdub for the first time. And it meant that when I played the piano part I could then overdub a Mellotron part, and it meant we could have a fuller sound on some of the songs and it means that at the moment the tour we’re doing with Odessey and Oracle it means we’re actually reproducing every note on the original record by having extra player with us as well.”
This Will Be A Year
The warmth of your love Is like the warmth of the sun And this will be our year Took a long time to come
Don’t let go of my hand Now darkness has gone And this will be our year Took a long time to come
And I won’t forget The way you held me up when I was down And I won’t forget the way you said, “Darling I love you” You gave me faith to go on
Now we’re there and we’ve only just begun This will be our year Took a long time to come
The warmth of your smile Smile for me, little one And this will be our year Took a long time to come
You don’t have to worry All your worried days are gone This will be our year Took a long time to come
And I won’t forget The way you held me up when I was down And I won’t forget the way you said, “Darling I love you” You gave me faith to go on
Now we’re there and we’ve only just begun And this will be our year Took a long time to come
Yeah we only just begun Yeah this will be our year Took a long time to come
The harmonica intro to this song is dirty as hell. You can hear the slide cutting in like a knife while the rhythm is chugging along. The song was written by Sleepy John Estes, son of a Tennessee sharecropper and blind in one eye, in 1930. He wrote it as Milk Cow Blues. It was recorded in Memphis with piano, mandolin, and Este’s guitar.
Leaving Trunk was on Taj Mahal’s self-titled debut album released in 1968. Like Ry Cooder two years after…he had a great band backing him up. On slide guitar and harmonica is Taj Mahal. The great Jesse Ed Davis is on slide guitar also on this album as well as Ry Cooder on rhythm guitar.
He covered songs written by Estes, Robert Johnson, himself, Sonny Boy Williamson II, and Blind Willie McTell. Leaving Trunk is a song that has been covered by many artists over the years, and it continues to be a favorite among blues fans. Secondhandsongs.com says it has 39 different versions to date. Everyone from Bob Willis to The Black Keys has covered this song. This album played a big part in influencing Duane Allman with Statesboro Blues.
I’ve listened to this album in the past few days I’ve been off of work. I’ve been rotating this one and the debut album of Ry Cooder. The slide guitar work on this album is blistering. I can’t state the importance of this album enough. I can see why Duane Allman was so inspired by it. I won’t go through the complete story but Duane was sick with a cold and his brother Gregg gave him a bottle of Coricidin and this album for Duane’s birthday. Below Gregg Allman tells it.
Gregg Allman: 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.
Leaving Trunk
I went upstairs to pack my leavin’ trunk
I ain’t see no blues, whiskey made me sloppy drunk
I ain’t never seen no whiskey, the blues made me sloppy drunk
I’m going back to Memphis babe, where I’ll have much better luck
Look out mama you know you asked me to be your king
She said, “You kiddin’ man, if you want it, keep it hid
But please don’t let my husband, my main man catch you here
Please don’t let my main man, my husband catch you here”
The blues are mushed up into three different ways
One said, “Go the other”, two said, “Stay”
I woke up this mornin’ with the blues three different ways
You know one say, “Go baby, I want to hang up”
The other two said, “Stay”
Wake up mama, I got something to tell you
You know I’m a man who loves to sing the blues
Now you got to wake up baby, mama now
I got something, I got something to tell you
Well, you know I’m the man, I’m the man
Oh yes, and I love to sing the blues
Come on Davis
Come on, come on
I went upstairs to pack my leavin’ trunk, you know
I ain’t see no blues or whiskey made me sloppy drunk
I never seen no whiskey, the blues made me sloppy drunk
I go home baby and I lay down on the lawn
This song is for Song Lyric Sunday for Jim Adams’s blog. This week’s prompt is Gone But Not Forgotten. We lost Jeff Beck this year and he was a huge loss.
I hardly ever post instrumentals but this one is special. Keith Moon on drums, John Paul Jones on bass, Nicky Hopkins on keyboard, and Jimmy Page, on 12-string guitar along with Jeff Beck on slide guitar. John Paul Jones said the group that played on Beck’s Bolero was kicking around the idea of touring. They also were thinking about trying to get the Small Faces singer Steve Marriott but his management would not go for that.
Beck’s Bolero was recorded over one day on May 16th, 1966. At this point, Moon was unhappy in The Who, and this impromptu band did initially plan to record and release a full album, but contractual obligations…amongst other things, prevented them from ever doing it.
John Entwistle, who originally agreed to play bass in the session, pulled out at the last minute and was replaced with session ace John Paul Jones. Personally, I’m glad this didn’t gel because The Who would have stopped dead most likely.
When you listen to the song…there isn’t a doubt who was playing drums. Jeff Beck later claimed that Pete Townshend “glared like daggers at me” after he found out about the recording sessions.
Jimmy Page is credited with writing the song but Jeff has said no… that he worked more of it out. Instead of me writing out the differences…I’ll let Beck and Page do it below.
Jimmy Page: “On the ‘Beck’s Bolero’ thing I was working with that, the track was done, and then the producer just disappeared. He was never seen again; he simply didn’t come back. Napier-Bell, he just sort of left me and Jeff to it. Jeff was playing and I was in the box (recording booth). And even though he says he wrote it, I wrote it. I’m playing the electric 12-string on it. Beck’s doing the slide bits, and I’m basically playing around the chords. The idea was built around (classical composer) Maurice Ravel’s ‘Bolero.’ It’s got a lot of drama to it; it came off right. It was a good lineup too, with Keith Moon, and everything.”
Jeff Beck: “No, Page didn’t write that song, we sat down in his front room once, this tiny, pokey room, and he was sitting on the arm of a chair and he started playing that Ravel rhythm. He had a 12-string, and it sounded so full, really fat and heavy. And I just played the melody. And I went home and worked out the other bit [the up-tempo section].”
This song was the B side to Hi Ho Silver Lining which peaked at #14 in the UK in 1967. The song was later on Jeff Beck’s Truth album.
Jeff Beck: Me and Jim Page arranged a session with Keith Moon in secret, just to see what would happen. But we had to have something to play in the studio because Keith only had a limited time — he could only give us like three hours before his roadies would start looking for him. So I went over to Jim’s house a few days before the session, and he was strumming away on this 12-string Fender electric that had a really big sound. It was the sound of that Fender 12-string that really inspired the melody. And I don’t care what he says, I invented that melody, such as it is. I know I’m going to get screamed at because in some articles he says he invented it, he wrote it. I say I invented it. This is what it was: He hit these Amaj7 chords and the Fm7 chords, and I just started playing over the top of it. We agreed that we would go in and get Moonie to play a bolero rhythm with it. That’s where it came from, and in three or four takes it was down. John Paul Jones on the bass. In fact, that group could have been a new Led Zeppelin.
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