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’ve never heard a song by Buddy Holly that I didn’t like. Well…All Right was released just a couple of months before Buddy Holly died in that lonely Iowa cornfield. A while back I posted Blind Faith‘s cover of this song. The song is in my top 10 of Buddy Holly’s songs easily.
This song was somehow a B side. In the 50s and 60s many times a B side was a throwaway track. People started to flip the hit singles over and sometimes…sometimes find gold! He had a song called Heartbeat that he thought would be a big hit. I like Heartbeat a lot but I lean more toward Well…All Right. I think Heartbeat sounds like the 50s…but this song sounds fresher.
It’s a quiet song but Holly builds in dynamics for the chorus showing his strength and tenderness on this recording. The construction of the melody and lyrics are outstanding. Its simple instrumentation yet powerful push is what won me over.
Heartbeat only peaked at #82 on the Billboard 100 and #30 on the UK Charts. It’s the flipside that has been remembered. It was written by Buddy Holly, Norman Petty, Jerry Allison, and Joe Mauldin.
What really hurts about Holly’s career is that he was just getting started. He had matured and was experimenting more than his rocking peers. Fortunately for all of us, he left behind a significant musical catalog that still influences new and old artists today.
Well…All Right
Well all right, so I’m being foolish Well all right let people know About the dreams and wishes you wish In the night when lights are low
Well all right, well all right We’ll live and love with all our might Well all right, well all right Our lifetime of love will be all right
Well, all right, so I’m going steady It’s all right when people say That those foolish kids can’t be ready For the love that comes their way
Well all right, well all right We will live and love with all our might Well all right, well all right Our lifetime of love will be all right
Well all right, well all right We’ll live and love with all our might Well all right, well all right Our lifetime love will be all right
Neath a delta moon and a worn brass ring in the house of a thousand guitars.
I’ve really been into this artist lately and especially this song. This song should have been played on the radio. I have a weakness for songs that name-drop other people. For instance Tom Petty’s Jammin’ Me, R.E.M.’s The End of the World (As We Know It), The Replacements Alex Chilton, Neil Young’s “Hey Hey My My (Into the Black), and well…you get the picture. I posted an earlier article about Nile and the readers really liked it.
Nile made two critically acclaimed albums in 1980 and 81 and then walked away from the music business. He didn’t like the business end but came back with an album in 1991. Since then he has made up for lost time with 11 albums. This was the title track to his 2009 album. It was his 6th studio album and since this album he has released 8 more. One of those albums is Positively Bob: Willie Nile Sings Bob Dylan which is fantastic.
In this song, Nile lists John Lennon, John Lee Hooker, Jimi Hendrix, Muddy Waters, Bob Dylan, The Stones, Bob Dylan, and more. It also has a hell of a catchy chorus that will stick with you. It’s very commercial-sounding and accessible.
Willie Nile is still out there touring and playing concerts.
House of the Thousand Guitars
Jimmy Hendrix plays all night long in the house of a thousand guitars.
Through a purple haze you can hear the song in the house of a thousand guitars.
When the clock strikes 12 Robert Johnson sings in the house of a thousand guitars.
Neath a delta moon and a worn brass ring in the house of a thousand guitars.
There’s not a dry eye when old Hank sings in the house of a thousand guitars.
With the pain and the hurt love sometime brings in the house of a thousand guitars.
Well you can hear Bob Dylan and the Rolling Stones in the house of a thousand guitars.
There will be no vultures picking on their bones in the house of a thousand guitars.
House of a thousand, house of a thousand, house meet the moon and stars.
House of a thousand, house of a thousand, house of a thousand guitars.
You can spread your finger across the universe in the house of a thousand guitars.
John Lennon, Muddy Waters, man you can do worse in the house of a thousand guitars.
Well you can walk bare foot on broken glass in the house of a thousand guitars.
Cause Mr. John Lee Hooker’s gonna kick your ass in the house of a thousand guitars.
House of a thousand, house of a thousand, house meet the moon and stars.
House of a thousand, house of a thousand, house of a thousand guitars.
You can hear electric fingers playin’, dripping down life’s crooked alleways.
They say there are no broken strings in the house of a thousand guitars.
Just some busted hearts and bee that stings.
There are stained glass windows on the bedroom walls.
You can hear the cry when salvation calls.
Well you can move your body, you can shake your heads in the house of a thousand guitars.
You can play with blood on your fingtips in the house of a thousand guitars.
House of a thousand, house of a thousand, house meet the moon and stars. House of a thousand, house of a thousand, house of a thousand guitars.
This was one of John Lennon’s favorite songs throughout his life. Rosie and the Originals were also mentioned by Led Zeppelin on liner notes after the song Dy’er Mak’er…“Whatever happened to Rosie and the Originals?”
Rosie Hamlin wrote “Angel Baby,” her and the Originals’ lone hit, when she was just 14, with her first boyfriend and the Penguins’ “Earth Angel” serving as her primary inspiration. After penning the song over a couple hours in the afternoon, Hamlin and some instrument-playing San Diego friends laid down the first version of the track.
They had trouble landing a record deal. No appointments with any of the labels. They eventually found a private studio and recorded the song themselves…all teenagers. After that, they took one of their 45’s to Kresge’s Department Store in San Diego. They had listening booths in their music section where you could preview records before you bought them. Rosie asked the manager to play their record and see if he could sell it in his store.
A distributor from Highland Records heard “Angel Baby” and, without officially signing the group to a record contract, took control of the single’s master take and gave songwriting credit to the Originals’ eldest member. The single eventually found its way to famed DJ Alan Freed, who played “Angel Baby” numerous times a day in November 1960; two months later, the single peaked at Number Five on the Hot 100.
However, Hamlin parted ways with Highland after a legal battle over the song’s authorship and ownership. After disbanding the Originals, Hamlin recorded an album with her guitarist husband Noah Tafolla before leaving the music industry by 1963.
After her divorce, a little over 3 years later, she did venture into music again but never had any other hits and played live some. She made a Spanish version of this song in 2002.
It’s been covered many times but Rosie’s favorite cover version was…John Lennon’s that he recorded for his Rock and Roll album released in 1975 but the song didn’t end up being released until 1986. John’s voice can be heard saying: “This is one of my all-time favorite songs… My love to Rosie wherever she may be.”
Rosie and the Originals never received a penny from “Angel Baby,” nor any of the other Highland recordings until September 1994, when a financial settlement was reached and the masters of their recordings were returned to them. Rosie said: “It looks like that song will be around longer than I will.”
And it is …Rosie passed away in 2017 at the age of 71.
Angel Baby
It’s just like heaven being here with you
You’re like an angel, too good to be true
But after all, I love you, I do
Angel baby, my angel baby
When you are near me, my heart skips a beat
I can hardly stand on my own two feet
Because I love you, I love you, I do
Angel baby, my angel baby
Oh, I love you, oh I do
No one could love you like I do
Ooh, ooh
Please, never leave me blue and alone
If you ever go, I’m sure you’ll come back home
Because I love you, I love you, I do
Angel baby, my angel baby
It’s just like heaven being here with you dear
I could never stay the way without you near
Because I love you, I love you, I do
Angel baby, my angel baby
Oh, I love you, oh, I do
No one could love you like I do
Ooh, ooh, ooh, ooh, ooh, ooh
I want to thank all of you readers this week. I have blogged way more than usual and I appreciate you reading. I will be taking a break after Monday until the 17th and then I’ll be back! I’ll see you all this weekend.
I’m not ranking these books… but I will kick it off with another Marx Brothers book. If you missed the first one it’s here.
Raised Eyebrows by Steve Stolliar. Stoliar, who was Groucho’s personal secretary and archivist while attending UCLA published this book in 1996. He was there in the seventies in Groucho’s house for the last three years of Groucho’s life. A who’s who of movie and rock stars visited. From Queen to Barbara Streisand to Jack Lemmon and Walter Matthau. So many came by and Stoliar doesn’t pull punches.
Sound Man by Glyn Johns – I read this book not knowing what to expect but I did know of Glyn Johns… so many of my albums had his name on it…A name that is known throughout the music industry as a great recording engineer, producer, and mixer. Glyn has worked with huge rock groups such as The Rolling Stones, Beatles, Who, Small Faces, Led Zeppelin, The Band, and more.
Brian Jones: The Making of the Rolling Stones by Paul Trynka – A biography about Brian Jones who founded the Rolling Stones written by Paul Trynka. This is more of a sympathetic look on Brian than other books I’ve read. Trynka digs deep with meticulous research. He tries to be fair and Brian isn’t always shown as the nicest guy in the world but he also isn’t always the person that Mick and Keith seem to remember when they actually remember him at all.
This book is not just a rehash of the best-known things about Jones and the Stones. Some instances that Stones fans know like the period where Keith ran off with Brian’s girlfriend Anita Pallenberg, we get more information on what happened. He researched Brian’s childhood and adult life thoroughly and you feel like you know the man before the book is over.
Moon The Loon or Full Moon – This book is for fans OR non fans alike. The book will have you physically burst out laughing at different parts of it. Keith left a trail of wrecked cars, wrecked drums, wrecked hotel rooms, wrecked nerves, wrecked bars, and many smiles.
Dougal doesn’t try to tell Moon’s life history. Full Moon highlights the tales of Mr. Keith John Moon…Patent British Exploding Drummer. It is a very quick read at around 250 pages. The audio version is approximately 9 hours long.
Butler worked for Moon for ten years and was right there during much of the craziness. He was behind the wheel of Moon’s AC Frua 428 as it flipped end-over-end through a field off Chertsey Lane after Moon decided to grab the shifter and downshift at around 120 mph.
In my next edition…I’ll include Tony Fletcher’s nearly 700 -page book on Keth Moon. It is fantastic.
IT by Stephen King – I always describe this book as a coming-of-age book that just so happens to have a psychotic alien shape-shifter clown. The book is brilliantly written. It takes place in a fictional town called Derry. After you read it…it doesn’t feel like a fictional town. You know every detail of the city and where everything is located. The films, 1990 and 2017, don’t even come close to this book.
I have re-read this book so many times and I find something new every time. I wanted to include a fiction book in this edition so here you go.
Miss O’Dell: Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan and Eric Clapton… by Chris O’Dell and Katherine Ketcham
I enjoyed this book immensely. It’s almost like a fantasy book. You are a fan and suddenly you get thrown into the world with The Beatles as friends and co-workers. You move from the Beatles to the Stones, CSNY, Bob Dylan and the list kept growing.
I will say this… as a Beatle fan, this book gave me insight that I never had before. Chris O’Dell happened to meet Derek Taylor (press officer of the Beatles) in Los Angeles in 1968…she worked for him for a few weeks in LA as a PA. He told her she should come over to London to check out the new company that The Beatles were starting called Apple. He didn’t promise her a job but she took a chance and sold her records and borrowed from her parents to go to London. She was like Alice down the rabbit hole, O’Dell stumbled upon a life even she could not have dreamed of.
I have been hyped about this because I’m not old enough to remember The Beatles when they were together. In the 90s when Free As A Bird came out I was so excited because it was the first time I ever heard a “new” Beatles song. I’ve been waiting for Paul to finish this song for 27 years. I thought it would end up just being him finishing it or not at all. My son Bailey is excited also. He was born in 2000 so he didn’t even get to hear Free As A Bird much less The Beatles as an active band. I think he is more excited than I am.
The thing that I’m happy about the most after listening to it is the great sound. They didn’t try to make it fit with everyone else now. The mix sounds lively and not flat and compressed to death like a lot of recordings. I’m listening through headphones and they did a hell of a job on it.
This song is not one of John’s best but it sounds great hearing John Lennon again. This will be the last single from them and for me, this is my musical event of the year.
This came about because of Peter Jackson’s advancements in audio technology while working on Get Back. He took John’s voice off of the 1978 cassette tape and it’s clean. They ran into a buzz on the tape before and could not finish it in the 90s.
Is this the best song ever by them? No, it’s not but it’s a nice send-off. On the single version, the B-Side is appropriately their first single Love Me Do. The video (out tomorrow) was directed by Peter Jackson.
What a long road this song took to get here.
12-Minute Bio on the song.
Now and Then
I know it’s true, it’s all because of you
And if I make it through, it’s all because of you
And now and then, if we must start again
Well we will know for sure, that I love you
I don’t want to lose you – oh no, no, no
Lose you or abuse you – oh no, no, no, sweet doll
But if you have to go, away
If you have to go
Nda-da-doo, doo-doo-doo
Now and then, I miss you
Oh now and then, I want you to return on me
And now return to me…
I know it’s true, it’s all because of you
And if you go away, I know you you’ll nev’… stay
I don’t want to lose you – oh no, no, no
Abuse you or confuse you – oh no, no, no, sweet darl’
But if you had to go,
Well I won’t stop you babe
And if you had to go, well you believe in that love
This song was on the first album I ever bought by the Beatles. It was a greatest hits package called Hey Jude Again when I was eight. This song I liked right away as I was learning about the band. Ask a Beatle fan what their opinion of Yoko is…and you will get different answers but I would safely say more negative. Don’t count me as a fan. She gets blamed for breaking the Beatles up. I think Allen Klein deserves more of the blame but not all…
It’s John, George, and Ringo who followed Klein and later paid millions for it but not as dearly as The Stones. Klein ended up with rights to all of their 1960s catalog. Paul’s lawsuit against the Beatles and Klein stopped Klein from doing more damage. I do think the Beatles broke up at a perfect time. Closing a career with Abbey Road…is about as good as it gets.
This song…was written obviously by Lennon but it wasn’t a true Beatles recording. Only John and Paul played on the recording. Despite the business BS going on…the music still worked between the two. John played all of the guitars and lead vocals and Paul played drums, bass, and backing vocals. George was out of town and Ringo was filming a movie. The song is a true story about John and Yoko getting married.
It was banned by many stations in America and the UK because of the line “Christ, you know it ain’t easy.” The song was supposedly written, recorded, and mixed on the same day…April 14, 1969. John didn’t like spending a long time in a studio and would do this later on with Instant Karma. He liked minimum production in those days.
John and Yoko were married on March 20, 1969, in Gibraltar, a British Overseas Territory on Spain’s south coast.
The song peaked at #1 in the UK, #8 on the Billboard 100, #7 in Canada, and #2 in New Zealand in 1969. At the time, it was a non-album single with the George Harrison song Old Brown Shoe as the B side. It would later be on Hey Jude Again.
A small side note…as an eight-year-old, I did learn about Holland, France, Paris, Gibraltar, and Spain. I told my mom that I would like her to drive me to France please…hey give me a break…I was 8.
The Ballad of John and Yoko
Standing in the dock at Southampton
Trying to get to Holland or France.
The man in the mac said you’ve got to go back,
You know they didn’t even give us a chance.
Christ! You know it ain’t easy,
You know how hard it can be.
The way things are going,
They’re going to crucify me.
Finally made the plane into Paris,
Honeymooning down by the Seine.
Peter Brown called to say,
You can make it OK,
You can get married in Gibraltar near Spain.
Christ! You know it ain’t easy,
You know how hard it can be.
The way things are going,
They’re going to crucify me.
Drove from Paris to the Amsterdam Hilton,
Talking in our beds for a week.
The newspapers said, say what’re you doing in bed,
I said we’re only trying to get us some peace.
Christ! You know it ain’t easy,
You know how hard it can be.
The way things are going,
They’re going to crucify me.
Saving up your money for a rainy day,
Giving all your clothes to charity.
Last night the wife said,
Oh boy, when you’re dead you
Don’t take nothing with you but your soul think!
Made a lightning trip to Vienna,
Eating chocolate cake in a bag.
The newspapers said,
She’s gone to his head,
They look just like two Gurus in a drag.
Christ! You know it ain’t easy,
You know how hard it can be.
The way things are going,
They’re going to crucify me.
Caught the early plane back to London,
Fifty acorns tied in a sack.
The men from the press said we wish you success,
It’s good to have the both of you back.
Christ! You know it ain’t easy,
You know how hard it can be.
The way things are going,
They’re going to crucify me
This year was very interesting. I had a hard time with the 5th pick. You have The Who and Led Zeppelin releasing albums and with me…normally I would go with the Who but in this year…Led Zeppelin’s Physical Graffiti won out. I think it would be hard to say that none of these belong. I like all of them of course or they would not be on here.
Born To Run broke Bruce Springsteen through to the masses after two very good to great albums but commercial failures. Columbia Records got behind this album, too much so for Bruce’s tastes, and they hit gold with it. With his face on Newsweek and Time magazine…everyone was introduced to Mr. Springsteen. In simple terms… 1975 was Springsteen’s year.
This was on the great album Blood on the Tracks. In my opinion Bob Dylan‘s best album of the seventies. When I first got this album I couldn’t quit listening to it and I really wore this song out. I could sing this song in my sleep…I know every word because it’s ingrained in my head.
This would make my top 5 Bob Dylan songs. I’ve seen Bob 8 times and the first 6 times I saw him I kept waiting for this song because with Bob you don’t know what you will get. He finally played it on the 7th time and I was surprised the next time because it was the only older song he played.
Talking to Ron Rosenbaum, Bob Dylan once told him that he’d written “Tangled Up in Blue”, after spending a weekend immersed in Joni Mitchell’s 1971 album Blue.
Queen used so many overdubs that the tape was virtually transparent on Bohemian Rhapsody. All the oxide had been rubbed off. They hurriedly made a copy so they could preserve what they had already. They were working with a 24-track machine but they still had to bounce tracks. They used `180 overdubs… The song took 3 weeks to record. The song was on A Night At The Opera album.
This made a huge comeback courtesy of Waynes World in 1991. The song was written by Freddie Mercury.
Elton John owned the early to mid-seventies Billboard Charts. Even Elton said he was tired of hearing himself in America on AM radio. Philadelphia Freedom was just another #1 for Elton.
Elton had an interesting B-side on this single. The B-side was a live duet of The Beatles hit “I Saw Her Standing There” that Elton recorded with his friend John Lennon. Elton had previously sung on Lennon’s “Whatever Gets You Through The Night” and also released a version of “Lucy In The Sky With Diamonds,” which was written by Lennon. This song was written by Elton John and his songwriting partner Bernie Taupin.
Led Zeppelin‘s Kasmir is one of their best if not their best song. It was on the Physical Graffiti Album released in 1975. The song did not chart but is hugely popular on the radio.
The song is hypnotic to listen to. The drums are the key to this song… Jimmy Page has said this about John Bonham on Kashmir… It was what he didn’t do that made it work.
The song was written by Jimmy Page, Robert Plant, and John Bonham.
My friend Ron told me about this Canadian singer-songwriter Ron Sexsmith from St. Catharines, Ontario. I listened to this song and it’s a beautifully written song. His name seemed familiar and there is a good reason for that. My friend Randy from MostlyMusicCovers covered him this past June. I’m not sure why I didn’t look at him more then.
This song was released on his Other Songs album released in 1997. The album won a Juno Award for Roots & Traditional Album of the Year in 1998.
This song came about when he was at a playground with his young son and he observed a little girl being looked after by her grandmother because her mom was in rehab. The mix of innocence of the little girl and the problem of drug addiction of her mom played into this song.
From everything I’ve heard from him and also read about…he draws his inspiration from real life about something real…not made-up stories but true to life. In this song, we see Amanda as a child and have to wonder how living in this situation will shape the rest of her life. There is not a real Amanda but this story has happened so many times.
His songs have been covered by Rod Stewart, Elvis Costello, and Emmylou Harris to name a few. He has released 18 albums since 1986 and released his last one in 2023 called The Vivian Line.
Ron Sexsmith: I remember one time a man came up to me in France and asked me where Amanda was today and that he wanted to meet her and help her somehow. I had to break it to him that she was just a fictional character and I think he was a little heart broken about it… kinda how I felt when I found out Sherlock Holmes was a work of fiction too.
Ron Sexsmith: “I think that singer / songwriter is the best job description for what I do. I am in that tradition of singer / songwriter. This is the first album on which I have had a co-write (“Alexander Brandy”). I have always prided myself on the fact that on the back of the other albums, it said all songs by Ronald Sexsmith. I think that the people who are into my stuff expect that. There have been a few exceptions, like I did a Leonard Cohen song on my first record.In general, I try to stick to that (writing all of the songs), because I am old fashioned. I like to buy a (Bob) Dylan record and find out that he wrote all of the songs, or Joni Mitchell or whoever it is. It’s romantic for me to think that at some time, they sat at a piano, or in a room and that, they wrote this thing, and they didn’t have any help. I would say that being a singer / songwriter is what I do and that’s pretty well who I am.”
Strawberry Blondes
She was not the girl next door but the girl from around the corner It was at the tail end of grade four when she came to school one morning And all eyes were upon her as she took her seat Her name was Amanda, with pretty eyes of green And hair of blonde, strawberry blonde
Springtime and dandelions and summer around the corner Was at the tail end of age nine with a million dreams before her She lived with her mother in an old decrepit house If there was trouble at home, she kept it to herself All summer long, the strawberry blonde
And by her face, there was no way to tell Seemed like all was well in the world But the neighbours said her mother had lost her will To gin and sleeping pills, it was no life for a little girl
Still, I see her face framed in blue sky At the top of a slide coming down And when the sirens wailed, her mother had failed to rise All the neighbours stood outside as Amanda just stared at the ground
Time flies and years are piled, I’d forgotten all about her When I saw her down the aisle of a streetcar with her daughter Then I heard Amanda say as she got up “Come on, Samantha, girl, this is our stop” And they were gone, two strawberry blondes
John’s voice is on display in this song. This was on Creedence Clearwater Revival’s debut album. It was a cover written by Screaming Jay Hawkins. John Fogerty forgot the swamp rock and just plugged into the psychedelic sound with this cut. It’s a slightly creepy song to listen to on a long car ride in the dark. Fogerty draws on every bit of soul he has in this vocal.
This was the second single they ever released as CCR…the singles they released before this was from The Goliwogs. They rightly decided that a name change would be in order. A question for the readers…if they would have remained The Golliwogs…would they have made it? What’s in a name right? Well, it can probably be argued.
This song did rather well! I didn’t know it did this much in the charts. It peaked at #11 on the Billboard 100 and #10 in Canada in 1968 and went Platinum.
The original version by Screaming Jay Hawkins was released in 1956. The song was banned from most radio stations because of groans and moans. He played it up to the hilt on appearances that he made.
Be Safe tonight and I hope all of you have a great time!
I Put A Spell On You
I put a spell on you
Because you’re mine
You better stop
The things that you’re doin’
I said “Watch out!”
I ain’t lyin’, yeah!
I ain’t gonna take none of your
Foolin’ around
I ain’t gonna take none of your
Puttin’ me down
I put a spell on you
Because you’re mine
All right!
I put a spell on you
Because you’re mine
You better stop
The things that you’re doin’
I said “Watch out!”
I ain’t lyin’, yeah!
I ain’t gonna take none of your
Foolin’ around
I ain’t gonna take none of your
Puttin’ me down
I put a spell on you
Because you’re mine
When I was growing up this was a must-watch in October. It’s The Great Pumpkin, Charlie Brown was first released in October 1966.
Charlie Brown is invited to Violet’s Halloween party. Before the party, the Peanuts gang plan to go trick or treating, with Snoopy, who is dressed as the WWI flying ace, taking his Halloween disguise to an extreme. The one person who won’t be joining them for the trick or treating or the party is Linus, who will be waiting in his local pumpkin patch for the arrival of the Great Pumpkin to give toys and candy to all the girls and boys.
This year he talked Sally, Charlie Brown’s sister, into coming with him while the others went out. Linus and Sally stays at the pumpkin patch all night until Lucy gets up in the middle of the night to take Linus back home. The next day, Charlie Brown and Linus about the night’s events. Charlie Brown assures Linus that he’s done his share of stupid things too. This upsets Linus, who vows that the Great Pumpkin will appear next year.
It’s The Great Pumpkin Charlie Brown was adapted from Schulz’s newspaper strip, which he had conceived as a metaphor for some of the hope and disappointment associated with Santa Clause. Schulz didn’t like the idea of kids getting their hopes up about a lot of presents when many families could only afford one or two gifts for the holidays. “The Great Pumpkin is really kind of a satire on Santa Claus, when he doesn’t come, Linus is crushed.”
Growing up, there was no other cartoon I looked forward to more than The Peanuts. Every holiday I was there watching the gang. I would also read the Sunday paper to see the Peanuts strip.
Everything from Linus telling us the true meaning of Christmas, Sally and Linus waiting for the Great Pumpkin, Lucy pulling that football from Charlie Brown, Snoopy being WWI flying ace, Lucy being a Psychiatrist, and Charlie Brown getting that sad-looking Christmas tree…we got to peek into that kids only world and listen to the wisdom that was going on while Linus and Charlie Brown discussed life.
The Peanuts taught us about life. We lose more than we win therefore everyone is Charlie Brown to an extent. Every person has failed at a big moment or many of the small ones. We felt for Charlie Brown because we could relate.
I love watching this from time to time. Yes, it’s bad…really bad but it’s so bad it’s good. All the celebrities who are in different phases of their careers, cross paths in this epic of a show. First, let’s go through all of the stars. It’s probably remembered most for KISS’s first television appearance.
Paul Lynde of course,
Billie Hayes (Witchiepoo from H.R. Pufnstuf)
Margaret Hamilton (The witch from Wizard of Oz)
Tim Conway (No seventies variety show was right without Tim Conway)
Florence Henderson (Brady Bunch mom)
KISS (their first TV show appearance)
Billy Barty (was in many films)
Betty White (Everyone knew Betty White)
Roz Kelly (Pinky Tuscadero from Happy Days)
Donny and Marie Osmond! (just to top it off)
The plot… which really doesn’t matter.
I always thought Paul Lynde was wickedly funny. In this, he was watered-down and could not be his Hollywood Squares best. He had a quick campy wit at times and the writers probably toned it down for prime time. I first noticed Lynde on Bewitched as Uncle Arthur and he was great in that role. It was his delivery that made everything work in his comedy.
This special has comedy bits and music…oh yes the music. You have KISS, you have the disco and you have Florence Henderson singing “That Old Black Magic…” Most of the comedy bits fail but the real comedy is how bad it is… The only thing missing from this extravaganza was a guest appearance from Harvey Korman and/or Don Knotts.
The main reason many people have watched it since it aired is it was KISS’s first TV show appearance…not including concert material.
It is a train wreck but one I like watching over and over again. At no other time could a show like this have been aired. It only aired once…for good reason.
What other show does Paul Lynde play a trucker who wants to marry Pinky Tuscadero?
I’ve covered a lot of Springsteen’s songs and I was going to look at my post of this one. I never covered it so I’m correcting that mistake today. This is one of those epic songs like A Day In The Life, Stairway To Heaven, Layla, and Free Bird.
1975 was the year of Bruce Springsteen. He was featured in Newsweek and Time magazine to his horror. The magazines were each granted interviews with Springsteen. Although they both featured similar details about his background and newfound stardom after his first two albums failed, the two articles were strikingly different in tone.
Time magazine wrote an article called “Rock’s New Sensation” in which he heaped praise on the new star. The writer knew music and realized how great Bruce was at the time. Newsweek was a different story. They wrote a story called “The Making of a Rock Star,” and looked at Columbia Records’ marketing campaign for ‘Born to Run’ and concluded it was pretty much hype. The ironic thing was that Bruce hated hype. Before he played the Hammersmith Odeon in London he ripped down a Springsteen promotional poster inside the Theatre before going upstairs and joining his party, after talking to a couple of the Record Company Executives he told his manager to instruct CBS to stop the hype and let the music sell itself.
Springsteen did try to use the Time and Newsweek covers to his advantage the next year. While touring Memphis he went to Graceland and jumped the fence but Elvis’s people were not amused. They escorted him out and told him that Elvis was in Lake Tahoe…which he was at the time. Bruce wanted to give him a song that he later gave the Pointer Sisters…Fire.
Now the song Born to Run. I think it’s fair to say that Born to Run is the song and album that broke him into stardom. On this album he had rock critic Jon Landau help him with the recording. That set off problems between Bruce and his manager Mike Appel…Appel wanted to stop Landau from working with Bruce after the album was made. That started a long saga of Bruce suing Appel which he didn’t want to do but he had to.
We all know Phil Spector’s “Wall of Sound” Well Bruce did his own Wall of Sound in this one. Springsteen has said that he counted 24 guitar overdubs in this track…that is why it sounds so huge. This was the only song on the album that Ernest “Boom” Carter played on. The original drummer Vini “Maddog” Lopez was fired in 1974 and Carter came in and helped out. He played this one song and then Max Weinberg took over the drums and still holds that spot. Carter left for a career in jazz. The keyboard player David Sancious only played on this song also and left for a very successful career in jazz. He would work on Springsteen’s solo albums later on.
Springsteen had other names for the album until deciding on this song as the title song. Other names he had were War And Roses, The Hungry, The Hunted, American Summer, and Sometimes At Night.
The song peaked at #23 on the Billboard 100 and #53 in Canada in 1975. It didn’t chart in the UK until 1987 when a live version peaked at #16. There was talk of making this the official state song of New Jersey.
Bruce Springsteen: “One day I was playing my guitar on the edge of the bed, working on some song ideas, and the words ‘born to run’ came to me,” he recalled. “At first I thought it was the name of a movie or something I’d seen on a car spinning around the circuit. I liked the phrase because it suggested a cinematic drama that I thought would work with the music that I’d been hearing in my head.”
Bruce Springsteen: “This is a song that has changed a lot over the years. As I’ve sung it, it seems to have been able to open up and let the time in. When I wrote it, I was 24 years old, sitting in my bedroom in Long Branch, New Jersey. When I think back, it surprises me how much I knew about what I wanted, because the questions I ask myself in this song, it seems I’ve been trying to find the answers to them ever since. When I wrote this song, I was writing about a guy and a girl that wanted to run and keep on running, never come back. That was a nice, romantic idea, but I realized after I put all those people in all those cars, I was going to have to figure out someplace for them to go, and I realized in the end that individual freedom, when it’s not connected to some sort of community, can be pretty meaningless. So, I guess that guy and that girl out there were looking for connection, and I guess that’s what I’m doing here. So, this is a song about two people trying to find their way home. It’s kept me good company on my search, and I hope it keeps you good company on yours.”
Before playing this song on December 9, 1980, Springsteen said before starting this song: “If it wasn’t for John Lennon, a lot of us would be someplace much different tonight. It’s a hard world that asks you to live with a lot of things that are unlivable. And it’s hard to come out here and play tonight, but there’s nothing else to do.”
Steven Van Zandt: “Bruce and I were just friends at this point. He said I wanna play you my new record. And he played ‘Born to Run’ for me, with me lying on the floor of the studio. He’d been working on it for months – I mean, literally months on one song, which is incredible now. But he played it from me, and I said, Oh, that’s great. I particularly love that minor riff, very Roy Orbison, something The Beatles would do. And he said, ‘What minor riff? What do you mean?’
What was happening was he was doing a Duane Eddy style riff, with a bunch of echo on it, and he was bending up to the last note. But you never heard him bending up to the notes, it didn’t register in your ear. He said, ‘Oh my f—ing God,’ and then played it how I heard it for the other guys, and I guess they all started to hear it the way I was, which was the way the whole world was gonna hear it! So they had to redo the guitar part and then the whole f–‘ing mix. The mix alone took them a couple of weeks, because in those days there was no automation and there was a lot going on in the song.”
Born To Run
In the day we sweat it out on the streets of a runaway American dream
At night we ride through the mansions of glory in suicide machines
Sprung from cages out on highway nine,
Chrome wheeled, fuel injected, and steppin’ out over the line
Oh, baby this town rips the bones from your back
It’s a death trap, it’s a suicide rap
We gotta get out while we’re young
‘Cause tramps like us, baby we were born to run
Wendy let me in I wanna be your friend
I want to guard your dreams and visions
Just wrap your legs ’round these velvet rims
And strap your hands ‘cross my engines
Together we could break this trap
We’ll run till we drop, baby we’ll never go back
Oh, will you walk with me out on the wire
Girl I’m just a scared and lonely rider
I gotta find out how it feels
I want to know if love is wild
I want to know if love is real
Oh can you show me?
Beyond the palace hemi-powered drones scream down the boulevard
Girls comb their hair in rear view mirrors
Boys try to look so hard
The amusement park rises bold and stark
Kids are huddled on the beach in a mist
I wanna die with you Wendy on the street tonight
In an everlasting kiss
One, two, three
Highway’s jammed with broken heroes on a last chance power drive
Everybody’s out on the run tonight
But there’s no place left to hide
Together wendy we can live with the sadness
I’ll love you with all the madness in my soul
Oh, someday girl I don’t know when
We’re gonna get to that place
Where we really wanna go
We’ll walk in the sun
But till then tramps like us
Baby we were born to run
Tramps like us baby we were born to run
Tramps like us baby we were born to run
I remember hearing this on an oldies channel I listened to in the 80s. I always liked the song but for the longest I never knew who played it. When I was a kid I had the original single of Eleanor and I loved it. I’ll never forget the cover art with a White Whale.
The band was formed by Mark Volman and Howard Kaylan in the early sixties. They were saxophone players who did whatever was trendy in order to make a living as musicians. They were also in the choir together in high school. They started off as an instrumental band but with the Beatles and the British invasion, they soon switched to a rock and roll band with Howard Kaylan as lead singer. They hit with a Bob Dylan song called It Ain’t Me Babe released in 1965.
The Turtles had a large vocal sound. Kayblan was a good singer and when combined with Volman…it made a unique sound for the Turtles. After the Turtles broke up Volman and Kaylan would join Frank Zappa and The Mothers of Invention for a while and they would be known after that as Flo (Phlorescent Leech) and Eddie. The reason for the new names was because of their old Turtle contract…they were not allowed to use their real names. They adapted the nicknames of two of their roadies.
Some radio stations objected to themes expressed in the song and banned the song from their playlists and refused to play it…lead singer Howard Kaylan thought this was because of the song’s references to Morning Glories, a flower with hallucinogenic properties. The last of the song had the phrase “Gettin’ so high” so that probably didn’t go over well either.
This song was written by Alan Gordon and Garry Bonner. The song peaked at #5 in Canada and #14 on the Billboard 100 in 1967
This song was released as a stand-alone single in 1967. It would eventually make it onto multiple Turtles compilations and greatest hits LPs and CDs.
Every time I do a post on The Turtles…I recommend watching their documentary… one of the most entertaining docs I’ve ever seen. If you have watched it…what do you think?
She’s My Girl
Mornin’, mornin’ glory
If you’d like to know where was I last night
Well, I saw a girl with a boy in her eye
And she’s so outta sight
She’s my girl
And that’s where I was last night
Off in a dream
She’s my girl
I took her away last night
Went for a ride
Off in the sky, that’s where I was last night
I just come back to tell ya
There’s a little bit of heaven underneath the apple tree
And every time I see you with that smile upon your face
There’s a little bit there for me
And she’s my girl
And that’s where I was last night
Went for a ride
She’s my girl
I took her away last night
We went for a ride
My girl
And that’s where I was last night
Off in the sky
She’s my girl
I took her away last night
Off in the sky
My girl
And that’s where I was last night
Gettin’ so high
Off in the sky, that’s where I was last night
My girl
I took her away last night
We went for a ride
My girl
And that’s where I was last night
Gettin’ so high
My girl
I took her away last night
Off in the sky
My girl
And that’s where I was last night
Gettin’ so high
Tony Sheridan was an excellent guitarist and had a good rock voice. The Beat Brothers were The Beatles and they punch this old standard up of My Bonnie Lies Over The Ocean. This record is probably the most important record they made …even as just a backing group.
They were thrilled to be on a record. “I didn’t stop playing it for days,” George told the NME two years later. Teenager Jimmy Campbell would remember Paul running up the stairs at Aintree Institute shouting “This is our record!” He made the DJ Bob Wooler put it on and he was bouncing all over the place just listening to himself coming out of the speakers. He was really made up. “Listen to that!”
Brian Epstein ran NEMS record store and one of his policies was to get any song that he might not have in stock. Around mid-afternoon on Saturday, October 28, 1962, a young man from Knotty Ash, Raymond Jones, walked into the NEMS shop on Whitechapel and tried to buy the record.
What happened next is the subject of conflicting accounts, though they end the same way. Jones remembers that Brian Epstein, unable to find “My Bonnie” in any release lists, asked him questions about it, which concluded with Jones saying the Beatles were locals and “the most fantastic group you will ever hear.” Brian himself, in his autobiography, suggested this additional information only came to him over the following days, and in the raw interview transcript for that book, he said one of his shop-girls noted Jones’ order.
That led Brian Epstein to the Cavern Club where the Beatles played. That is somewhere that he would probably have never gone. Raymond Jones’s simple request would go down in history. Soon after, Brian was managing the Beatles and within a year they got George Martin’s attention and the rest is history.
While the Beatles were in Hamburg they were signed to a record contract by Bert Kaempfert. He recorded many cuts with The Beatles backing Sheridan and also a few by themselves. One original was the Lennon-Harrison instrumental Cry For A Shadow. The rest were standards like Ain’t She Sweet and When the Saints Come Marching In. The Beatles were fortunate with Bert Kaempfert. He wasn’t a shark…he signed them and when they had a chance to sign with EMI…he only asked that they record a couple of more songs and he let them go.
My Bonnie was released in October of 1961 in Germany and peaked at #32 in the German charts. It didn’t do much in the UK but fans knew about it and wanted it. The Beatles were very popular in Liverpool at the time and it sold well there after Brian got it in his store. Later on when they released Love Me Do it sold over 10,000 copies in Liverpool alone.
Record executives thought Epstein bought that many to put it in the charts but no….they really sold. Most people outside of Liverpool couldn’t understand how a “new” band would sell that many but they had been popular there since coming back from Hamburg in 1961. The Beatles started their own fan club in 1962 before Brian met them.
Their old bass player, Stuart Sutcliffe was there, but Paul played bass during the sessions.
My Bonnie
My Bonnie lies over the ocean
My Bonnie lies over the sea
My Bonnie lies over the ocean
Oh bring back my Bonnie to me
My Bonnie lies over the ocean
My Bonnie lies over the sea
Well my Bonnie lies over the ocean
Yeah bring back my Bonnie to me
Yeah bring back, ah bring back
Oh bring back my Bonnie to me to me
Oh bring back, oh bring back
Oh bring back my Bonnie to me
Well my Bonnie lies over the ocean
My Bonnie lies over the sea
Yeah my Bonnie lies over the ocean
Oh I said bring back my Bonnie to me
Yeah bring back, ah bring back
Oh bring back my Bonnie to me to me
Oh bring back, ah bring back
Oh bring back my Bonnie to me
52 years ago on October 29, 1971, Duane Allman died in Macon Georgia in a motorcycle crash. He was only 24 years old and the Allman Brothers had just released the At Fillmore East album in July…it was taking off. They had toured heavily since 1969 with two studio albums and hardly anything to show for it. The live album would push them over the top into stardom. Duane died right when it was beginning to happen. The album was just certified gold 4 days before the crash.
In a Rolling Stone top guitarist poll around 2000, Duane came in 2nd behind Jimi Hendrix. His slide-playing influenced so many musicians after he died and when he was alive. To be that good at such a young age is incredible.
1 year and 13 days later on November 11, 1972, the bassist for the Allman Brothers Berry Oakley died a few blocks away from where Duane died in a motorcycle crash.
He also met Eric Clapton in 1970 and played on the Layla sessions with Derek and the Dominos with his slide guitar on Layla and throughout the album.
Rolling Stone magazine named him No. 2 on its list of the greatest guitarists of all time in 2003, trailing only Jimi Hendrix.
The above was made in 1973 by four young men from Vicksburg. They were college students who carved a roadside icon into a bluff along Interstate 20, at the time a new highway. The monument, which simply read, “Remember Duane Allman,” would later appear in Rolling Stone publications and continues receiving attention today
Responsible for the monument were Don Antoine, Dennis Garner, Len Raines and David Reid, who, in 1973, were freshmen at Hinds Junior College.
“We didn’t do this to go around bragging about it,” Reid said at a Sunday evening reunion of the four, an event he described as very rare. “We did it just to do it. Plus, we never even thought it would become the big deal that it did.”
Gregg Allman: “You should have seen my mother’s face when she first saw a picture of that, he was quite honored and quite elated, almost to tears.”
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