Who – Magic Bus

A band called The Pudding heard this song from a Pete Townshend demo that was circulated. The Pudding recorded the first version (see video below), which came and went without much fanfare in 1967…they could have picked a little better name. Their version was a little too smooth for me.

I’ve always liked this song with it’s Bo Diddley rhythm.

The Who’s version came out in the next year in 1968 and peaked at #25 in the Billboard 100, #26 in the UK, #6 in Canada, and #13 in New Zealand.

The song was included on the American album Magic Bus: The Who on Tour although no tracks were live…they were all studio tracks. In the UK it was just released as a single. It would later be included on the great compilation album Meaty Beaty Big and Bouncy in 1971.

Pete Townsend: “When I wrote ‘Magic Bus,’ LSD wasn’t even invented as far as I knew. Drug songs and veiled references to drugs were not part of The Who image. If you were in The Who and took drugs, you said, ‘I take drugs,’ and waited for the fuzz to come. We said it but they never came. We very soon got bored with drugs. No publicity value. Buses, however! Just take another look at Decca’s answer to an overdue Tommy; The Who, Magic Bus, On Tour. Great title, swinging presentation. Also a swindle as far as insinuating that the record was live. Bastards. This record is what that record should have been. It’s The Who at their early best. Merely nippers with big noses and small genitals trying to make the front page of The Daily News.”

 

Magic Bus

Every day I get in the queue (too much, Magic Bus)
To get on the bus that takes me to you (too much, Magic Bus)
I’m so nervous, I just sit and smile (too much, Magic Bus)
You house is only another mile (too much, Magic Bus)

Thank you, driver, for getting me here (too much, Magic Bus)
You’ll be an inspector, have no fear (too much, Magic Bus)
I don’t want to cause no fuss (too much, Magic Bus)
But can I buy your Magic Bus? (too much, Magic Bus)

(No)

I don’t care how much I pay (too much, Magic Bus)
I want to drive my bus to my baby each day (too much, Magic Bus)

I want it, I want it, I want it, I want it (you can’t have it)
Thruppence and sixpence every day
Just to drive to my baby
Thruppence and sixpence each day
‘Cause I drive my baby every way

Magic bus, Magic Bus, Magic Bus
Magic bus, Magic Bus, Magic Bus
Magic bus, Magic Bus, Magic Bus
Magic bus, Magic Bus, Magic Bus

I said, now I’ve got my Magic Bus (too much, Magic Bus)
I said, now I’ve got my Magic Bus (too much, Magic Bus)
I drive my baby every way (too much, Magic Bus)
Each time I go a different way (too much, Magic Bus)

I want it, I want it, I want it, I want it
I want it, I want it, I want it, I want it

Every day you’ll see the dust (too much, Magic Bus)
As I drive my baby in my Magic Bus (too much, Magic Bus)

Rolling Stones – Paint It, Black

Of all of the Rolling Stones riffs…this one is one of the most memorable. It’s menacing with a dash of eastern influence. Brian Jones plays a sitar on this record. This was one of the Stones best periods. Whatever song they wrote, Jones would play a different instrument to color the song.

The Stones were more adventurous in the mid-sixties. Along with some blues they ventured into pop, rock, and a bit of psychedelia. After Brian left they played mostly blues-rock along with a little reggae-influenced music later on.

The song peaked at #1 in the Billboard 100, #1 in Canada, #1 in the UK, and #4 in New Zealand in 1966.

The Stones former manager Allen Klein owned the publishing rights to this song. In 1965, The Stones hired him and signed a deal they would later regret. With Klein controlling their money, The Stones signed over the publishing rights to all the songs they wrote up to 1969. Every time this is used in a commercial or TV show, Klein’s estate (he died in 2009) gets paid.

 

From Songfacts

This is written from the viewpoint of a person who is depressed; he wants everything to turn black to match his mood. There was no specific inspiration for the lyrics. When asked at the time why he wrote a song about death, Mick Jagger replied: “I don’t know. It’s been done before. It’s not an original thought by any means. It all depends on how you do it.”

The song seems to be about a lover who died:

“I see a line of cars and they’re all painted black” – The hearse and limos.

“With flowers and my love both never to come back” – The flowers from the funeral and her in the hearse. He talks about his heart being black because of his loss.

“I could not foresee this thing happening to you” – It was an unexpected and sudden death.

“If I look hard enough into the setting sun, my love will laugh with me before the morning comes” – This refers to her in Heaven. 

The Rolling Stones wrote this as a much slower, conventional soul song. When Bill Wyman began fooling around on the organ during the session doing a takeoff of their original as a spoof of music played at Jewish weddings. Co-manager Eric Easton (who had been an organist), and Charlie Watts joined in and improvised a double-time drum pattern, echoing the rhythm heard in some Middle Eastern dances. This new more upbeat rhythm was then used in the recording as a counterpoint to the morbid lyrics.

On this track, Stones guitarist Brian Jones played the sitar, which was introduced to pop music by The Beatles on their 1965 song Norwegian Wood (This Bird Has Flown). Jones made good television by balancing the instrument on his lap during appearances.

Keith Richards: “We were in Fiji for about three days. They make sitars and all sorts of Indian stuff. Sitars are made out of watermelons or pumpkins or something smashed so they go hard. They’re very brittle and you have to be careful how you handle them. We had the sitars, we thought we’d try them out in the studio. To get the right sound on ‘Paint It Black’ we found the sitar fitted perfectly. We tried a guitar but you can’t bend it enough.” 

This was used as the theme song for Tour Of Duty, a CBS show about the Vietnam War which ran from 1987-1989.

On the single, there is a comma before the word “black” in the title, rendering it, “Paint It, Black.” This of course changes the context, implying that a person named “Black” is being implored to paint. While some fans interpreted this as a statement on race relations, it’s far more likely that the rogue comma was the result of a clerical error, something not uncommon in the ’60s.

Mick Jagger: “That was the time of lots of acid. It has sitars on it. It’s like the beginnings of miserable psychedelia. That’s what the Rolling Stones started – maybe we should have a revival of that.”

U2 did a cover for the 7″ B-side of “Who’s Gonna Ride Your Wild Horses,” and used some of it in live versions of “Bad.” Other artists who have covered the song include Deep Purple, Vanessa Carlton, GOB, Tea Party, Jonny Lang, Face to Face, Earth Crisis, W.A.S.P., Rage, Glenn Tipton, Elliott Smith, Eternal Afflict, Anvil, and Risa Song.

Jack Nitzsche played keyboards. Besides working with The Stones, Nitzsche arranged records for Phil Spector and scored many movies. Nitzsche had an unfortunate moment when he appeared on the TV show Cops after being arrested for waving a gun at a guy who stole his hat. He died of a heart attack in 2000 at age 63.

This is featured in the closing credits of the movie The Devil’s Advocate. It is also heard at the end of Stanley Kubrick’s movie Full Metal Jacket, where it serves as an allegory of the sorrow of the sudden death in the song relating to the emotional death of the men in the film, and of all men in war. 

This song was used in the movie Stir Of Echoes with Kevin Bacon. In the movie, Bacon’s character hears the first few chords of it in a memory, but could not think of the song. It drives him crazy through most of the movie. 

Talking on his Absolute Radio show, Stones’ co-guitarist Ronnie Wood disclosed that Keith Richards has trouble remembering how to play this song. He revealed, “We always have this moment of hesitation where we don’t know if Keith’s going to get the intro right.”

Keith Richards: “What made ‘Paint It Black’ was Bill Wyman on the organ, because it didn’t sound anything like the finished record until Bill said, ‘You go like this.'”

Ciara recorded a breathy, stirring cover for the 2015 movie, The Last Witch Hunter. The R&B star told Rolling Stone that it was a surprise for her when she got the call from Universal Publishing and Lionsgate to record the tune. “When they asked me to do this, I was like, ‘Absolutely. This would be an honor,'” she said. “I had never thought to cover this song. It was never on my radar to cover it, but when the opportunity came along, I was very thrilled, because I love what the producer Adrianne Gonzales did.”

“The direction that she went in was actually a sound I’ve always wanted to play with, and it just didn’t get any better than being able to cover a Rolling Stones song,” Ciara continued. “I feel like it pushes the edge and the limit for me, in reference to what people probably expect from me. So this was so many cool things in one. It was a huge honor, and then creatively I just got to really have some fun that I don’t usually do in my music.”

This wasn’t the only “black” hit of 1966; the Spanish group Los Bravos went to #4 US and #2 UK with “Black Is Black” that year.

In the two weeks this song was at #1 in June 1966, the #2 song was “Did You Ever Have to Make up Your Mind?” by The Lovin’ Spoonful, an American group that made inroads against the British Invasion bands with relentlessly upbeat pop songs. Their jaunty song about trying to decide between two girls was quite a contrast to “Paint It Black.”

In his 2002 book Rolling with the Stones, Bill Wyman explained that the album was intended to be the soundtrack for the never-filmed movie Back, Behind And In Front. The deal fell through when Mick Jagger met director Nicholas Ray (who directed James Dean in Rebel Without A Cause) and didn’t like him.

Paint It Black

I see a red door and I want it painted black
No colors anymore, I want them to turn black
I see the girls walk by dressed in their summer clothes
I have to turn my head until my darkness goes

I see a line of cars and they’re all painted black
With flowers and my love, both never to come back
I see people turn their heads and quickly look away
Like a newborn baby it just happens ev’ryday

I look inside myself and see my heart is black
I see my red door and I must have it painted black
Maybe then I’ll fade away and not have to face the facts
It’s not easy facing up when your whole world is black

No more will my green sea go turn a deeper blue
I could not foresee this thing happening to you
If I look hard enough into the setting sun
My love will laugh with me before the morning comes

I see a red door and I want it painted black
No colors anymore I want them to turn black
I see the girls walk by dressed in their summer clothes
I have to turn my head until my darkness goes

I want to see your face painted black, black as night, black as coal
Don’t want to see the sun, flying high in the sky
I want to see it painted, painted, painted, painted black, yea

Beach Boys – Sloop John B

This is a traditional West Indies tune about a sunken boat. It was adapted in 1951 by Lee Hays of the Weavers (as “The John B Sails”) and revived in 1960 by Lonnie Donegan.

This was the biggest hit from The Beach Boys landmark album Pet Sounds. The album’s origin was basically Brian Wilson, and he got the title when Beach Boy Mike Love suggested the album had Brian’s “pet” sounds or his favorite sounds. To keep the animal theme, Wilson put some barking dogs on the album.

Al Jardine on Pet Sounds: Mike Love was very confused … Mike’s a formula hound – if it doesn’t have a hook in it, if he can’t hear a hook in it, he doesn’t want to know about it. … I wasn’t exactly thrilled with the change, but I grew to really appreciate it as soon as we started to work on it. It wasn’t like anything we’d heard before.”

The song peaked at #3 in the Billboard 100, #2 in Canada, #1 in New Zealand, and #2 in the Uk in 1966.

 

From Songfacts

The Beach Boys’ folk music buff, Al Jardine, turned Brian Wilson onto the Kingston Trio’s recording of the song. For their updated version, Wilson added elaborate vocals and a 12-string guitar part. He also changed some of the lyrics, including “This is the worst trip since I’ve been born” to “…I’ve ever been on” as a wink to acid culture.

The song was popularized by The Kingston Trio, who adapted it from a version in poet Carl Sandburg’s 1927 songbook The American Songbag. The Kingston Trio’s version stays true to the song’s Calypso roots, and was released on their first album in 1958. Eight years later, The Beach Boys changed the title to “Sloop John B,” and came away with a hit. Their debt to The Kingston Trio goes far beyond this song: The Beach Boys adopted the group’s striped, short-sleeved shirts and wholesome persona as well. 

With Wilson at the controls, the album was recorded at United Western Recorders in Los Angeles, in the studio known as “Western 3.” Wilson coaxed a big sound out of the little room, which measured just 14′ x 34′.

Brian Wilson hired 13 musicians to record this song on a midnight – 3 a.m. session on July 12, 1965. The session players packed into United Western Recorders in Los Angeles that night were:

Hal Blaine (drums)
Carol Kaye (electric bass)
Al De Lory (keyboards)
Al Casey (guitar)
Lyle Ritz (upright bass)
Billy Strange (guitar)
Jerry Cole (guitar)
Frank Capp (Glockenspiel)
Jay Migliori (clarinet)
Steve Douglas and Jim Horn (flutes)
Jack Nimitz (sax)
Charles Britz (engineer)

Billy Strange did some guitar overdubs at another session on December 29, 1965.

According to pop historian Joseph Murrells, this was the Beach Boys’ fastest selling record to date – over 500,000 within two weeks in the US alone.

Sloop John B

We come on the Sloop John B
My grandfather and me
Around Nassau town we did roam
Drinking all night
Got into a fight
Well I feel so broke up
I want to go home

So hoist up the John B’s sail
See how the main sail sets
Call for the Captain ashore
Let me go home, let me go home
I want to go home, yeah yeah
Well I feel so broke up
I want to go home

The first mate he got drunk
And broke in the Cap’n’s trunk
The constable had to come and take him away
Sheriff John Stone
Why don’t you leave me alone, yeah yeah
Well I feel so broke up, I want to go home

So hoist up the John B’s sail
See how the main sail sets
Call for the Captain ashore
Let me go home, let me go home
I want to go home, let me go home
Why don’t you let me go home
(Hoist up the John B’s sail)
Hoist up the John B
I feel so broke up I want to go home
Let me go home

The poor cook he caught the fits
And threw away all my grits
And then he took and he ate up all of my corn
Let me go home
Why don’t they let me go home
This is the worst trip I’ve ever been on

So hoist up the John B’s sail
See how the main sail sets
Call for the Captain ashore
Let me go home, let me go home
I want to go home, let me go home
Why don’t you let me go home

Kinks – You Really Got Me

This very well may be the very first Punk record. The simple riff was raw and cutting and like Louie, Louie and Wild Thing…became a staple of garage bands forever. This song was the first hit for The Kinks. Before releasing it, they put out two singles that flopped: a cover of “Long Tall Sally” and a Ray Davis composition called “You Still Want Me.”

The sound of the guitar was revolutionary. Dave Davies got the dirty guitar sound by slashing the speaker cone on his amplifier with a razor blade. The vibration of the fabric produced an effect known as “fuzz,” which became common as various electronic devices were invented to distort the sound. At the time, none of these devices were available to Dave, so Davies would mistreat his amp to get the desired sound, often kicking it.

Ray Davies wrote this with the intention of making it a big crowd-pleaser for their live shows. He was trying to write something similar to “Louie Louie,” which was a big hit for The Kingsmen.

The song peaked at #7 in the Billboard 100 and #1 in the UK in 1964.

 

From Songfacts

Kinks frontman Ray Davies wrote the lyric to this rambunctious rocker after watching girls dancing in a club. It’s not the most articulate lyric, but that’s the point: The guy in the song is so infatuated, all he can do is mutter at the girl how she’s really got him.

In 2015, he told Rolling Stone: “I just remembered this one girl dancing. Sometimes you’re so overwhelmed by the presence of another person and you can’t put two words together.”

Davies expanded on the song’s inspiration during a 2016 interview with Q magazine: “I was playing a gig at a club in Piccadilly and there was a young girl in the audience who I really liked. She had beautiful lips. Thin, but not skinny. A bit similar to Françoise Hardy. Not long hair, but down to about there (points to shoulders). Long enough to put your hands through… (drifts off, wistfully)… long enough to hold. I wrote ‘You Really Got Me’ for her, even though I never met her.”

According to Dave, the amp slashing happened in his bedroom in North London when he was irate – he had gotten his girlfriend, Sue Sheehan, pregnant, and their parents wanted to keep them from getting married. Instead of doing self harm, he used the blade on the amp to channel his rage. The amp was a cheap unit called an Elpico that had been giving him problems – he decided to teach it a lesson!

In the studio, the wounded Elpico was hooked into a another amp, which Dave recalls as a Vox AC30 and producer Shel Talmy remembers as a Vox AC10. The sound they got changed the course of rock history, becoming the first big hit to use distortion.

Davies and Sheehan stayed apart, but she had the baby, a girl named Tracey who finally met her father until 1993.

If “You Really Got Me” didn’t sell, there was a good chance their record label would have dropped them, but the song gave them the hit they were looking for. Soon they were making TV appearances, gracing magazine covers, and playing on bills with The Beatles as an opening act. They didn’t have an album out when the song took off, so they rushed one out to capitalize on the demand. This first, self-titled album has just five originals, with the rest being R&B covers – standard practice at the time for British Invasion bands.

The Kinks recorded a slower version with a blues feel on their first attempt, but hated the results. Ray Davies thought it came out clean and sterile, when he wanted it to capture the energy of their live shows. Dave Davies’ girlfriend backed them up, saying it didn’t make her want to “drop her knickers.”

The Kinks’ record company had no interest in letting them re-record the song, but due to a technicality in their contract, they were able to withhold the song until they could do it again. At the second session, Dave Davies used his slashed amp and Talmy produced it to get the desired live sound. This is the version that was released. Talmy liked the original: He claimed it would also have been a hit if it was released.

Ray Davies came up with famous riff on the piano at the family home. He played it for Dave, who transposed it to guitar. Their first version was 6-minutes long, but the final single release came in at just 2:20.

The first line was originally “you, you really got me going.” Ray Davies changed it to “girl, you really got me going” at the suggestion of one of their advisers. The idea was to appeal to the teenage girls in their audience.

The final version of the song was recorded in July 1964, with Ray Davies on lead vocals, Dave Davies on guitar, and Pete Quaife on bass.

The Kinks didn’t have a drummer when they first recorded the song a month earlier, so producer Shel Talmy brought in a session musician named Bobby Graham to play. When they recorded it the second time in July, Mick Avory had joined the band as their drummer, but Talmy didn’t trust him and made him play tambourine while Graham played drums. A session musician named Arthur Greenslade played piano, and Jon Lord, years before he became a member of Deep Purple, claimed he played keyboards. Lord recalled with a laugh to The Leicester Mercury in 2000: “All I did was plink, plink, plink. It wasn’t hard.”

Released in the UK on August 4, 1964, “You Really Got Me” climbed to #1 on September 16, where it stayed for two weeks. In America, it was released in September and reached a peak of #7 in November.

Ray Davies is the only songwriter credited on this track, even though his brother Dave came up with the signature guitar sound. This was one of many friction points for the brothers, who are near the top of any list of the most combative siblings in rock. When they recorded the song, Ray was 22 and Dave was 17.

Shel Talmy, who produced this track, came to England from California and brought many American recording techniques with him. To get the loud guitar sound on “You Really Got Me,” he recorded the guitar on two channels, one with distortion, the other without. When combined in the mix, the result was a loud, gritty sound that popped when it came on the radio.

“I was using some techniques I worked out on how to get a raunchier sound with distortion,” Talmy said in a Songfacts interview. “It wasn’t that difficult because I had done it before in America.”

Talmy added: “It helped that Dave was as good as he was, and that he was quite happy to listen.”

Talmy later produced the first album for The Who, My Generation.

It was rumored that Jimmy Page, who was a session musician at the time, played guitar on this track, which the band stridently denied. According to producer Shel Talmy, Page didn’t play on this song but did play rhythm guitar on some album tracks because Ray Davies didn’t want to sing and play guitar at the same time.

Ray Davies took pains to make sure we could understand the words. “I made a conscious effort to make my voice sound pure and I sang the words as clearly as the music would allow,” he said.

A 1978 cover of this song was the first single for Van Halen, who played lots of Kinks songs in their early years doing club shows. Eddie Van Halen spent the next several years developing new guitar riffs, and like Davies, was known to manipulate his equipment to get just the right sound.

The powerful rhythm guitar riff was very influential on other British groups. The Rolling Stones recorded “Satisfaction,” which was driven by the rhythm guitar, a year later.

According to Ray Davies, there was a great deal of jealousy among their peers when The Kinks came up with this song. He said in a 1981 interview with Creem: “There were a lot of groups going around at the time – the Yardbirds, the Kinks, the Rolling Stones – and nobody had really cracked with a sort of R&B #1 record. The songs were always sort of like The Beatles. When we first wanted to do a record, we couldn’t get a recording gig. We were turned down by Decca, Parlophone, EMI and even Brian Epstein came to see us play and turned us down. So I started writing songs like ‘You Really Got Me,’ and I think there was a sheer jealousy that we did it first. Because we weren’t a great group – untidy – and we were considered maybe a bit of a joke. But for some reason, I’d just had dinner, shepherd’s pie, at my sister’s house, and I sat down at the piano and played da, da, da, da, da. The funny thing is it was influenced by Mose Allison more than anybody else. And I think there was a lot of bad feeling. I remember we went to clubs like the Marquee, and those bands wouldn’t talk to us because we did it first.”

The Kinks’ next single was “All Day And All Of The Night,” which was basically a re-write of this song, but was also a hit.

In a Rolling Stone interview, Ray said that they “evolved” the sound by putting knitting needles in the speakers when recording this song. That statement prompted a rebuttal from his brother Dave, who wrote in to explain: “I alone created the guitar sound for the song with my Elpico amp that I bought. I slashed the speaker with a razor blade, which resulted in the ‘You Really Got Me’ tone. There were no knitting needles used in making my guitar sound.”

One of the many things the Davies brothers disagree on is the Van Halen cover. Ray loves it. He told NME it is his favorite Kinks cover. “It was a big hit for them and put them on a career of excess and sent them on the road. So I enjoyed that one.”

Dave Davies is not a fan. He told Rolling Stone: “Our song was working-class people trying to fight back. Their version sounds too easy.”

The Who played this at many of their early concerts. Their first single was “I Can’t Explain,” also produced by Shel Talmy with a sound clearly borrowed from “You Really Got Me,” as Pete Townshend played a dirty guitar riff similar to what Dave Davies’ did.

You Really Got Me

Girl, you really got me goin’
You got me so I don’t know what I’m doin’ now
Yeah, you really got me now
You got me so I can’t sleep at night

Yeah, you really got me now
You got me so I don’t know what I’m doin’ now
Oh yeah, you really got me now
You got me so I can’t sleep at night

You really got me
You really got me
You really got me

See, don’t ever set me free
I always want to be by your side
Girl, you really got me now
You got me so I can’t sleep at night

Yeah, you really got me now
You got me so I don’t know what I’m doin’ now
Oh yeah, you really got me now
You got me so I can’t sleep at night

You really got me
You really got me
You really got me
Oh no

See, don’t ever set me free
I always want to be by your side
Girl, you really got me now
You got me so I can’t sleep at night

Yeah, you really got me now
You got me so I don’t know what I’m doin’ now
Oh yeah, you really got me now
You got me so I can’t sleep at night

You really got me
You really got me
You really got me

Where is…Captain Kirk’s original Command Chair?

You know…who wouldn’t like Captain Kirk’s original command chair in their living room? Ok…some people would not like it but I have wondered where it is now. Many people build replicas of the chair but I want to know where the real one is. The real McCoy…pardon the pun.

The original owner picked up the chair and accompanying set pieces in 1969 after he received a call from a friend at Paramount Pictures, who alerted him to the fact that the entire Star Trek set was being scrapped and that, if he was interested, he was welcome to get whatever items he wanted before they were thrown away… I’m not sure where he stored it but I found where it was sold in 2002 for $265,000.

The late Microsoft co-founder Paul Allen then bought the chair for a reported $305,000 in 2009. He also developed The Museum of Pop Culture or MoPOP in Seattle and that is where the chair is right now!

The chair is probably one of the most recognized chairs in the world.

Captain Kirk’s chair was built around the black Naugahyde cushioning and slim walnut arms of a model No. 2405 or No. 4449 armchair produced by Madison Furniture Industries of Canton, Miss., between 1962 and 1968. The industrial designer Arthur Umanoff conceived the chair as part of an attempt to replicate the Danish modern look which was popular in the early sixties.

The Museum of Pop Culture or MoPoP exhibits   

This is a link to the current museum…they have exhibits on the music of Nirvana, Jimi Hendrix, and Pearl Jam. It looks like a cool place. Have any of you visited this museum?

https://www.mopop.org/exhibitions-plus-events/

Displayed at The Museum of Pop Culture

Donovan – Atlantis

I first heard this song while watching Goodfellas as Joe Pesci is beating Billy Batts. Donovan is reading a poem and then the song really kicks in with it’s sixties goodness around the 1:50 mark with Way down below the ocean…

Atlantis peaked at #7 in the Billboard 100 in 1969. The background vocals are credited as “Donovan’s fans.” It was rumored that Paul McCartney, who had earlier contributed to Donovan’s hit “Mellow Yellow,” sang backing vocals,It has since been discredited by Mark Lewisohn (Beatle historian),  McCartney spent the month of November 1968 mostly at his farm in Scotland.

The song was originally the B side in America to To Susan on the West Coast Waiting.

From Songfacts

This song begins as a long narrative poem in which Donovan tells of the legendary island of Atlantis. Exotic and mythological images were on the minds of many Hippies in the ’60s, and Atlantis was the symbol of the counterculture moment with the hope that if true love is found, Atlantis will be reached. The only sung lines in the song are:

Way down beneath the ocean
Where I wanna be she may be

The song was used in a violent scene in the movie Goodfellas.

Donovan re-recorded the song as a parody “Hail Atlantis” on the animated series Futurama. He also redid the song with the German group No Angels for the German soundtrack of Atlantis: The Lost Empire entitled “Atlantis 2002.”

Atlantis

The continent of Atlantis was an island
Which lay before the great flood
In the area we now call the Atlantic Ocean
So great an area of land, that from her western shores
Those beautiful sailors journeyed
To the South and the North Americas with ease
In their ships with painted sails

To the east, Africa was a neighbor
Across a short strait of sea miles
The great Egyptian age is but a remnant of The Atlantian culture
The antediluvian kings colonized the world
All the gods who play in the mythological dramas
In all legends from all lands were from fair Atlantis
Knowing her fate, Atlantis sent out ships to all corners of the Earth
On board were the Twelve
The poet, the physician, the farmer, the scientist
The magician and the other so-called gods of our legends
Though gods they were
And as the elders of our time choose to remain blind
Let us rejoice and let us sing and dance and ring in the new
Hail Atlantis!

Way down below the ocean
Where I wanna be, she may be
Way down below the ocean
Where I wanna be, she may be
Way down below the ocean
Where I wanna be, she may be

Way down below the ocean
Where I wanna be, she may be
Way down below the ocean (she may, she may, she may)
(She may, she may, she may)
Where I wanna be, she may be (she may, she may, she may)

My antediluvian baby (she may, she may, she may)
Oh yeah yeah, yeah yeah yeah
(She may, she may, she may)
I want to see you some day (she may, she may, she may)
Where I wanna be, she may be
My antediluvian baby (she may, she may, she may)
Oh yeah yeah, yeah yeah yeah (she may, she may, she may)
(She may, she may, she may)
My antediluvian baby

Way down below the ocean (she may, she may, she may)
(She may, she may, she may)
Where I wanna be, she may be (she may, she may, she may)
My antediluvian baby
Way down below the ocean
I love you, girl
I want to see you some day (she may, she may, she may)
Where I wanna be
My antediluvian baby, oh yeah
Way down below the ocean
I want to see you some day (she may, she may, she may)
Where I wanna be
My antediluvian baby
Way down below the ocean
(She may, she may, she may)
Where I wanna be, she may be
My antediluvian baby
Way down below the ocean
I want to see you
Where I wanna be, she may be
My antediluvian baby
You gotta tell me where she gone
I want to see you some day
Wake up, wake up, wake up, wake up, oh yeah
Oh glub glub, down down, yeah
Where I wanna be
My antediluvian baby

Rosanne Cash/ Johnny Cash – Tennessee Flat Top Box

This is my favorite song that Roseanne Cash made. The song was written by her dad Johnny Cash and he released it in 1961 and it peaked at #11 on the Country Charts and #84 in the Billboard 100.

Rosanne released it in 1987 on her album King’s Record Shop. The song peaked at #1 in the Billboard Country Charts. The first time I heard it I liked it right away.

 

This is the only video I could find of them singing it together. It wasn’t professionally recorded. It was in 1989 after the song was a hit for Rosanne… it was videotaped at John & June’s house to celebrate June’s latest book about Mother Mabel Carter.

Tennessee Flat Box

In a little cabaret
In a south Texas border town
Sat a boy and his guitar
And the people came from all around
And all the girls
From there to Austin
Were slippin’ away from home
And puttin’ jewelry in hock to take the trip
To go and listen
To the little dark-haired boy who played the
Tennessee flat top box
And he would play

Well he couldn’t ride or wrangle
And he never cared to make a dime
But give him his guitar
And he’d be happy all the time
And all the girls
From nine to ninety
Were snappin’ fingers
Tappin’ toes
And beggin’ him don’t stop
And hypnotized
And fascinated
By the little dark-haired boy who played the
Tennessee flat top box
And he would play

Then one day he was gone
And no one ever saw him ’round
He vanished like the breeze
They forgot him in the little town
But all the girls
Still dreamed about him
And hung around
The cabaret until the doors were locked
And then one day
On the hit parade
Was the little dark-haired boy who played the
Tennessee flat top box
And he would play