1960s – Page 15 – PowerPop… An Eclectic Collection of Pop Culture

Animals – See See Rider

Many have covered this song and I’ve known many versions. It’s been covered over 100 times. I first knew this song by Elvis but I love the Animals version.

The biggest difference between the Animals and The Beatles, Stones, Kinks, and The Who was that the Animals didn’t write many of their early songs. They kept looking at the Brill Building for songs. In this instance, they took an old blues song and breathed new life into it, creating a powerful recording that would become emblematic of their sound.

One of the earliest recorded versions of “See See Rider” was by Ma Rainey, one of the pioneering figures of blues music. Rainey’s recording, released in 1925, helped popularize the song and establish it as a blues standard. The writing credit on this song is Lena Arent and Ma Rainey.

Ma Rainey’s influence extended beyond her music… she was also a trailblazer for African American artists in the music industry. As one of the first African American women to record blues music. she was a vaudeville star in the early 1900s. In 1923, she started recording for Paramount Records. Earlier he took Bessie Smith under her wing and helped her. She was one of the first female blues artists to find a wide audience.

The C.C. Rider, also known as See See Rider or Easy Rider, is a blues cliché for the sexual partner, although originally it referred to the guitar hung on the back of the traveling bluesman. An easy rider was also known as an unfaithful boyfriend.

The song peaked at #1 in Canada and #10 on the Billboard 100 in 1966.

Over the years, “See See Rider” has been covered by many artists from various genres, including Elvis Presley, Chuck Berry, and Janis Joplin. Per Secondhandsongs… it has been covered 450 times.

See See Rider

Oh see, see see rider girl see what you’ve doneOh oh, see see rider see what you’ve done nowYou’ve gone away and left me and nowAnd now the blues they come oh yes they do

Oh well I’m goin’ goin’ away baby and I won’t be back till fallOh yes I am goin’ away baby and I won’t be back till fallIf I get me a good lookin’ woman no no no I won’t be back at all oh rightNow see see rider I love you yes I do and there isn’t one thing darlingI would not do for you you know I want you see seeI need you by my side see see rider oh keep me satisfied

Oh he had see see rider see see riderSee see rider see see rider see riderSee see rider you keep on a ridin’, keep on a ridin’Here it comes baby look outBeat it all right don’t lose it now come on, come on, yeah

Here she comes she’s oh rightShe’s so fine she’s all mineSee see come on Jenny dig a ride now, hey

Well I’m goin’, goin’ away baby and I won’t be back till fallYes, I’m goin’, goin’ away baby and I won’t be back till fallIf I find me a good lookin’ woman no no no I won’t be back at allAnd that’s the truth baby listen I’m goin’ all rightSomebody told me somebody told meI jump catch on I leave it oh right oh right ah

…

Townes Van Zandt – Lungs

I’m learning more about Townes Van Zandt and you don’t have to search for great songwriting in his catalog. Just pull up any song and it’s usually a winner. This is another song that makes songwriters sigh. Sunset diamonds roll across my memory and Clouds roll by and hide the tears I’m crying It’s so original and it’s like a great artist painting a masterpiece.

This song was on his self-titled 3rd album released in 1969. It was recorded at Bradley’s Barn in Nashville in July of 1969.

Bradley’s Barn deserves its own post. It was owned by Owen Bradley and he recorded so many well-known artists such as Buddy Holly, Gene Vincent, Kitty Wells, Patsy Cline, Brenda Lee, Loretta Lynn, Lenny Dee, and Conway Twitty to name a few.

Steve Earle points out in a quote that Townes had walking pneumonia in New York and wrote this song based on that. Some sources say he got part of it when he was younger and he went through insulin shock therapy for manic depression. In that “treatment,” you would be shocked and have injections of insulin to put you in a coma daily. He lost much of his long-term memory from this treatment.

He came out of that far from cured. He had a fatalistic view of the world and holes in his memory. It very well could have caused some of his substance abuse and depression problems afterward.

It’s also said to be about coal miners, specifically about pneumoconiosis commonly known as Black Lung Disease.

Secondhandsongs has 22 versions of the song including the original.

Steve Earle: I’ve done it for a very, very long time and it’s one of my favorite Townes songs. The story I heard was that he was in New York and he had pneumonia, literally, just got walkin’ pneumonia. He was literally sick with a respiratory ailment. It’s literal past the poetic decimal point. He was a bad-ass. The difference between Townes and Bob Dylan is, and this makes Townes a lot more radical to me in some ways, is Dylan was really heavily influenced by the same kinds of music, but lyrically he was influenced more by modern French poets and the Beats. Whereas Townes was much more influenced by old-school, conventional lyric poets like Robert Frost and Walt Whitman. And it’s cool, it’s where a lot of the uniqueness of his voice comes from. ‘Cause it is Lightnin’ Hopkins against Robert Frost, and it’s pretty startling.

Lungs

Well, won’t you lend your lungs to me?
Mine are collapsing
Plant my feet and bitterly breathe
Up the time that’s passing.
Breath I’ll take and breath I’ll give
Pray the day ain’t poison
Stand among the ones that live
In lonely indecision.

Fingers walk the darkness down
Mind is on the midnight
Gather up the gold you’ve found
You fool, it’s only moonlight.
If you try to take it home
Your hands will turn to butter
You better leave this dream alone
Try to find another.

Salvation sat and crossed herself
Called the devil partner
Wisdom burned upon a shelf
Who’ll kill the raging cancer
Seal the river at it’s mouth
Take the water prisoner
Fill the sky with screams and cries
Bathe in fiery answers

Jesus was an only son
And love his only concept
Strangers cry in foreign tongues
And dirty up the doorstep
And I for one, and you for two
Ain’t got the time for outside
Just keep your injured looks to you
We’ll tell the world we tried

…

Yardbirds – Shapes of Things

This is the Yardbirds… Jeff Beck edition. Great song that peaked at #11 in the Billboard 100, #3 in the UK, and #7 in Canada in 1966. Beck’s guitar solo in this song is fantastic as he uses distortion, sustain, feedback, and some Eastern influence. This was shortly before Jimmy Page joined the group.

The band recorded this song at Chess Studio in Chicago, their first time there. Chris Dreja said it’s one of the best songs they ever made. Shapes of Things was about the state of the UK during the Vietnam War, so it was an anti-war song according to the band. The song was written by Jim McCarty, Keith Relf, and Paul Samwell-Smith.

The band is best known now because of the great guitarists that were in the band. Eric Clapton joined the band in 1963, but soon quit to concentrate on the blues with Cream.

Jeff Beck replaced him in 1965, and then Jimmy Page joined in 1966 on bass. He soon switched to guitar, and the band had Page and Beck together.

Later, Beck walked out of the band, leaving only Page. The Yardbirds broke up, but Jimmy Page kept the name and played under “The New Yardbirds” with his new bandmates Robert Plant, John Paul Jones, and drummer John Bonham, who would change their name to Led Zeppelin.

Jeff Beck liked the song so much that he used it on arguably his best album Truth. He was able to control feedback and use it to enhance the song. The song is often considered a precursor to the heavier, more experimental rock sound that would emerge in the late 1960s and early 1970s.

Jeff Beck: “The way they worked was completely off the cuff: We’d jam, Keith would rush off and write some lyrics in the toilet, it was exactly like that. After four verses, let’s go into this raga thing. I kept changing guitar sounds all the way through. So we did two or three takes of my guitars and blended them all together. But the solo on “Shapes Of Things” was pretty honest until that feedback note that comes in over it. If nothing else, that was the best single.”

Bassist Paul Samwell-Smith: I wrote it in a bar in Chicago. I just lifted part of a Dave Brubeck fugue to a marching beat. It’s a sort of protest song.

Jim McCarty: “With ‘The Shapes of Things’ I came up with a marching type of rhythm that I tried to make interesting. And at the end of each line we’d build up like we used to do with some of our stage stuff – the rave ups. And then the bass riff came on top of that. And the bass riff was loosely based on a Dave Brubeck song, sort of a jazz song, around a doo doo doo doo doo doo, and then the chords came over that. The chords were very basic, came between the two tones, I think G and F, and then resolving it in D, each verse. And then the tune came on top of that. In fact, I remember putting the backing track down, which sounded great. I wasn’t at the session where Keith made up the tune, and when I heard the tune, I thought, Oh, that’s great. It’s a real surprise. He made up the tune, and then we had this sort of ‘Come tomorrow,’ but that was part of the song, anyway, at the beginning. So it was an exciting song to be involved in.”

Jim McCarty: “That’s probably the hardest thing to try and do. Every time we tried to do that it never really succeeded. I suppose we were lucky in that when we did ‘Shapes of Things’ it was like a hit song, but we were really coming from not trying to create a sort of a 3-minute piece of music, it was just something that seemed natural to us. We started with the rhythm, we used a bass riff that came from a jazz record, got a groove going with that and then added a few other bits from elsewhere, other ideas that we’d had. And I think it was a great success for us, it was a good hit record that wasn’t really selling out. And it was original.”

Shapes of Things

Shapes of things before my eyes,
Just teach me to despise.
Will time make men more wise?
Here within my lonely frame,
my eyes just heard my brain.
But will it seem the same?

(Come Tomorrow) Will I be older?
(Come Tomorrow) May be a soldier.
(Come Tomorrow) May I be bolder than today?

Now the trees are almost green.
But will they still be seen?
When time and tide have been.
Fall into your passing hands.
Please don’t destroy these lands.
Don’t make them desert sands.

Chorus, Lead.

Soon I hope that I will find,
Thoughts deep within my mind.
That won’t displace my kind.

Beatles – A Hard Day’s Night

This is probably one of the most studied songs by the Beatles in their entire catalog. Why is it studied? That opening chord or chords. It baffled musicians for years on how to duplicate it. It took around 40 years to figure it out to be exact. It’s probably one of the most recognizable intros in rock. A musician didn’t figure it out…that took a Dalhousie mathematician. None of the Beatles could remember exactly how they did it.

Here is a PDF you can download. A Hard Days Night Chord . It’s called Mathematics, Physics and A Hard Day’s Night. Here is what Wiki said: George Harrison: Fadd9 in 1st position on Rickenbacker 360/12 12-string electric guitar. John Lennon: Fadd9 in 1st position on a Gibson J-160E 6-string acoustic guitar. Paul McCartney: high D3 played on the D-string, 12th fret on Hofner 500/1 electric bass. George Martin: D2-G2-D3 played on a Steinway Grand Piano.

I just don’t see how they thought it up…it was most likely helped by George Martin. Anyway, it’s a great song and a hugely popular one from their early years. The title came from something Ringo said and John remembered it. They all called Ringo’s odd phrases Ringoisms. Ringo said “We went to do a job, and we’d worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, ‘It’s been a hard day…’ and I looked around and saw it was dark so I said, ‘Night!’ So we came to ‘A Hard Day’s Night.”

A Hard Day’s Night was written and recorded in less than 24 hours. It only took them 3 hours to finish the song. It was another song that was written under pressure. The movie production had begun and this was the last song to be recorded. On the way to the studio, John Lennon was talking to a journalist Maureen Cleave who was sharing a cab with him.

He showed her the lyrics to A Hard Day’s Night. They were scrawled down on a birthday card sent from a fan to his son Julian. What the lyrics were was “When I get home to you / I find my tiredness is through …” and Cleave didn’t like the word tiredness and told John…so he grabbed her pen and wrote, “When I get home to you / I find the things that you do / Will make me feel all right.” Today Julian’s birthday card is in the British Library.

The song peaked at #1 on the Billboard 100, #1 in Canada, #1 in New Zealand, and #1 in the UK in 1964.

The album peaked at #1 on the Billboard Album Charts, #1 in Canada, and #1 in the UK.

A fun fact about the movie. Phil Collins was one of the school kids brought in as extras for a scene in the movie where The Beatles perform. He didn’t make the cut, but years later, the film’s producer gave Collins the outtake footage with him in it and had Collins add commentary to the DVD release.

They won their first Grammy with this song.

A Hard Day’s Night

It’s been a hard day’s night
And I’ve been workin’ like a dog
It’s been a hard day’s night
I should be sleepin’ like a log
But when I get home to you
I find the things that you do
Will make me feel alright

You know I work all day
To get you money to buy you things
And it’s worth it just to hear you say
You’re gonna give me everything
So why on Earth should I moan?
‘Cause when I get you alone
You know I feel okay

When I’m home
Everything seems to be right
When I’m home
Feeling you holding me tight, tight, yeah

So why on Earth should I moan?
‘Cause when I get you alone
You know I feel okay

When I’m home
Everything seems to be right
When I’m home
Feeling you holding me tight, tight, yeah

Oh, it’s been a hard day’s night
And I’ve been workin’ like a dog
It’s been a hard day’s night
I should be sleepin’ like a log
But when I get home to you
I find the things that you do
Will make me feel alright
You know I feel alright
You know I feel alright

…

Kinks – Where Have All The Good Times Gone

I haven’t had a Kinks post in quite a while so I thought I would have one today. It’s always a good day to have a Kinks song. I’ve said this before but one of my favorite concerts was The Kinks in 1983 at the Grand Ole Opry House.

Ray Davies and nostalgia go together. He often writes about his past, the past, or preserving the past as in The Village Green Preservation Society. That is one of the many reasons I always liked his writing. I think of him…or should I say I think of Bruce Springsteen as the British Ray Davies. They write about the every day way of life in their respective countries.

The band was going through a rough time in 1965. Guitarist Dave Davies and drummer Mick Avory had an on-stage fight which resulted in Avory nearly decapitating Davies with a cymbal, Dave was left unconscious in a pool of blood. Avory ran away, terrified that he had killed him.

This was thought to have led to them getting banned from touring America. The other theory was The American Federation of Musicians delisted the Kinks not because of any rowdy behavior… It was simply because the band wanted to use non-union help during a concert tour. I tend to believe the latter.

This song was the B side to Till The End of the Day. The single peaked at #8 in the UK, #36 in Canada, and #50 on the Billboard 100 in 1965. The song was also released in 1973 with the flip side of Lola. The single didn’t chart. It was originally on the album The Kink Kontroversy.

Van Halen covered this song on their 1982 album Diver Down. David Bowie also covered it on his album Pin Ups.

Ray Davies: “We’d been rehearsing ‘Where Have All the Good Times Gone’ and our tour manager at the time, who was a lot older than us, said, ‘That’s a song a 40-year-old would write. I don’t know where you get that from.’ But I was taking inspiration from older people around me. I’d been watching them in the pubs, talking about taxes and job opportunities.”

Ray Davies: “I wanted to write a song my dad or relatives could sing, they always talked about how great it was before or during the war – I think every generation thinks that way.” “It’s got that hard edge The Kinks had, but at the same time, it’s got a reflective, poignant lyric.”

Where Have All The Good Times Gone

Well, lived my life and never stopped to worry ’bout a thing
Opened up and shouted out and never tried to sing
Wondering if I’d done wrong
Will this depression last for long?

Won’t you tell me
Where have all the good times gone?
Where have all the good times gone?
Well, once we had an easy ride and always felt the same

Time was on our side and I had everything to gain
Let it be like yesterday
Please let me have happy days
Won’t you tell me

Where have all the good times gone?
Where have all the good times gone?
Ma and Pa look back at all the things they used to do
Didn’t have no money and they always told the truth

Daddy didn’t have no toys
And mummy didn’t need no boys
Won’t you tell me
Where have all the good times gone?

Where have all the good times gone?
Well, yesterday was such an easy game for you to play
But let’s face it things are so much easier today
Guess you need some bringing down

And get your feet back on the ground
Won’t you tell me
Where have all the good times gone?
Where have all the good times gone?
Where have all the good times gone?

…

Car Songs…Part 1

In my Fred Eaglesmith post on Saturday, two comments caught my attention. One was Keith telling me when he was a DJ they would play car songs at certain times. Then Obbverse mentioned… that would be a good post for someone…and indeed he was right.

When I was a teenager…a car wasn’t just a car…it was freedom. It was a key to an adult world we wanted eagerly to jump into. Ok…I’ll have songs with either the word “car” in them or with a model of a car in the title only. If not I would have 80 percent of Springsteen songs…not a bad thing at all but I will play by those rules.

Janis Joplin – Mercedes Benz

Let’s start with Janis Joplin. This is based on a song called C’mon, God, and buy me a Mercedes Benz by the Los Angeles beat poet Michael McClure. Joplin saw McClure perform it, and on August 8, 1970, she reworked it into her own song, which she performed about an hour later.

There are three credited songwriters on this track: Joplin, Michael McClure, and Bob Neuwirth. McClure says he never earned a cent from his poetry, but “Mercedes Benz” paid for his house in the Butters Canyon section of Oakland, California.

Janis Joplin never got a Mercedes Benz, but she did have a 1965 Porsche that was painted to become a piece of hippie art.

Wilco – Bull Black Nova

Many thanks to Obbverse for recommending this one. This song is a dark one…very dark. It’s somewhat cryptic and open to interpretation but one thing it does show… guilt, betrayal, and the consequences of one’s actions…and the narrator possibly killing his girlfriend. This song was released in 2009 on the album Wilco (The Album). The song was written by Wilco… Glenn Kotchie, Jeff Tweedy, John Stirratt, Mikael Jorgensen, Nels Cline, and Pat Sansone.

If I am the one, blood on the sofa
Blood in the sink, blood in the trunk
High at the wheel of a bull black Nova
And I’m sorry as a setting sun
This can’t be undone, can’t be outrun

Bruce Springsteen – Cadillac Ranch

I could probably do a post just on Cadillac songs.

This song is a great little rocker off of The River. This is one of many early Springsteen songs featuring cars. Some others were “Thunder Road,” “Backstreets,” and “Racing In The Street.” Bruce used the Cadillac image again in 1984 on “Pink Cadillac.”

Springsteen used Cadillac Ranch as a metaphor for the coming of death.

There is a real Cadillac Ranch.

In 1974 along Route 66 west of Amarillo, Texas, Cadillac Ranch was invented and built by a group of art-hippies from San Francisco. They called themselves The Ant Farm, and their silent partner was Amarillo billionaire Stanley Marsh 3. He wanted a piece of public art that would baffle the locals, and the hippies came up with a tribute to the evolution of the Cadillac tail fin. Ten Caddies were driven into one of Stanley Marsh 3’s fields, then half-buried, nose-down, in the dirt

T Rex – Jeepster

This song was on the 1972 album Electric Warrior. The music was supposedly based off of the Willie Dixon song You’ll Be Mine.

Jeepster was recorded live in the studio. The recording happened entirely organically and was not overdubbed. Marc Bolan, amid a performance, jumped up and down as he played his guitar, shaking the microphone stands. The sound of those stands was kept in the song. Producer Tony Visconti saw them as important features of the overall mood of the track and chose to include them.

K.C. Douglas-Mercury Blues

Mercury Blues was written by the Blues musicians K.C. Douglas and Robert Geddins in 1949. It was originally titled “Mercury Boogie.” The song was made famous 44 years later by Alan Jackson, whose 1993 cover peaked at #2 on the Billboard Country charts. The song has also been covered by Steve Miller, David Lindley, and Meat Loaf.

Little Richard – Why Don’t You Change Your Ways

I posted this song to show the other side of Little Richard. Some people just know him as the screamer and rocker. This is a ballad that he released in 1962. nobody beats Little Richard (Richard Penniman) for a hard-raving song but it’s nice to see this side also.

Little Richard isn’t just a singer he is a force of nature. I think he would have been successful now or in any decade. He is one of the best singers I’ve heard in rock and roll. His voice is brash, intense, rough, soulful, and magical. He takes you to the edge of the cliff and when you think he will go over he pulls it back.

This song was the B side to “He Got What He Wanted (But Lost What He Had)” released in 1962 as Little Richard returned to Rock and Roll after his retirement. He was touring the UK and Germany at this time. The Beatles opened a few shows for him while he was on tour.

Joe Lutcher wrote this song and had a hand in Little Richard retiring earlier. In 1957, he discussed religious matters with Little Richard, following which, during a tour of Australia, Little Richard resolved also to give up playing what was described as “the devil’s music”. Lutcher joined Penniman in Bible studies, and they toured the country together as The Little Richard Evangelistic Team, preaching the word of God to reportedly enthusiastic crowds.

Little Richard would come back to Rock and Roll of course but Joe Lutcher would not. In later years he refused all requests to discuss his earlier secular music career. He died in 2006.

Here is the A-Side of the single….He Got What He Wanted (But Lost What He Had)… great title by the way.

Why Don’t You Change Your Ways?

Why don’t you change your ways of living
why don’t you do it now
Why don’t you do it my friend this very day
Because there is no other way

Why don’t you change your ways of talking?
Why don’t you do it now
Why don’t you do it my friend this very day
Because there is no other way

Yes, this is the way
This is the way oh well
This is the way
This is the way oh yes

Why Don’t you change your ways of walking
why don’t you do it now
Why don’t you do it my friend this very day
Because there is no other way
It’s so straight and there could be no other way
It’s so narrow many would never look that way
It’s so they don’t won’t to even find the way
It’s the light that leads me the right way

Buddy Holly – Bo Diddley

I never knew that Buddy Holly covered this song…somehow I missed or forgot that he covered it.

This was recorded back in 1956 as one of his first recordings. It wasn’t released until 4 years after he died. The original version is just Buddy on guitar and vocals and Jerry Allison on drums. Producer Norman Petty then overdubbed the other instruments with help from a band called The Fireballs.

I consider him the beginning of power pop. His Fender playing a clean jangling melody. Songs like Maybe Baby, Peggy Sue, and Words of Love influenced future artists like The Beatles, Hollies, Bob Dylan, and the list is endless. He wrote his own songs and is still influencing artists today with a recording career that only lasted less than three years.

Buddy Holly’s music is still relevant almost sixty years after he passed away in 1959. He didn’t have a big voice like Elvis, Little Richard, or some of his peers but he wrote and crafted beautiful melodies for his voice to weave through.

This song peaked at #4 on the UK Charts and #116 on the Billboard 100 in 1963. The song was on an album called Reminiscing. The album peaked at #2 on the UK Album Charts and #40 on the Billboard Album Charts.

Not only was he a great songwriter but also a great producer and he would have only got better. Unlike many of his fifties counterparts, I believe that Buddy Holly would have fit in the music scene post-Beatles. I always thought his best songs were in front of him. Most of his music transcends the fifties and would have fit nicely in the sixties.

Here are two versions…the bottom WITH the overdubs and the other the original raw recording.

Bo Diddley

Bo Diddley buy baby a diamond ringIf that diamond ring don’t shineHe gonna take it to a private eyeIf that private eye can’t see

He better not take that ring from meWon’t you come to my house back at homeTake a-my baby on away from homeLove a-that photo, where ya beenUp to your house and gone againBo Diddley caught a fat cat

To make a-pretty baby a Sunday hatBo Diddley caught him a nanny goatTo make a pretty baby a Sunday coatBo Diddley, Bo Diddley have you heardMy pretty baby says she wants a bird

….

Who – Pictures of Lily

Starting with The Who’s Tommy album…everything after that gets noticed. Their brilliant early singles sometimes get criminally overlooked. Personally, and I know I am in the minority, I think many of their early singles trump both the Beatles’ and Stones’s early singles. The Who and Kinks didn’t have the quality of the sound of those bigger bands…but that was the point. Those singles were exciting and raw…a few experimental. Paul McCartney was influenced heavily by The Who when he wrote Paperback Writer and Helter Skelter.

On July 8, 1989, I traveled to Atlanta Georgia to see The Who for the first time. Nashville at that time had no place really big enough for them to play. Vanderbilt wasn’t allowing rock concerts at their stadium at that time. I’ll never forget when The Who played this song that night. Roger forgot the words to it and said “I don’t know the bloody words to this song.” I found the clip and I’ll have it below.

The only part of that concert that bothered me was the volume or the lack of really. Entwistle had to turn down his volume and they carried a brass section with them because of Pete’s tinnitus. It sounded great of course but not as in your face as when I saw them in Nashville in 2016. My only guess is now the PA equipment is better because The Who were much louder in 2016 than when I heard them in 1989.

Describing The Who’s next new single (Pictures of Lily)…Pete Townshend coined the term “Power Pop” to describe this song before it was released. It made it to #4 in the UK Charts, #60 on the Billboard 100, and #36 in Canada in 1967. The song tells the story of a father giving his son risque pictures of a woman taken in the 1920s…and after a while, the son finds out that she had died many years ago.

It is a song about the lust of a teenage boy…we will keep it at that. John Entwistle played the French Horn on this that he later didn’t like.

Pete Townshend: On Karen’s (his future wife) bedroom wall were three Victorian black-and-white postcard photographs of scantily dressed actresses. One was the infamous Lily Langtry, mistress of Prince Edward, later King Edward VII, and one sunny afternoon while Karen was at work I scribbled out a lyric inspired by the images and made a demo of ‘Pictures of Lily’. My song was intended to be an ironic comment on the sexual shallows of show business, especially pop, a world of postcard images for boys and girls to fantasise over. ‘Pictures of Lily’ ended up, famously, being about a boy saved from burgeoning adolescent sexual frustration when his father presented him with dirty postcards over which he could masturbate.

John Entwistle: “The thing I hate about ‘Pictures Of Lily’ is that bloody elephant call on the French horn. I also hated the backing vocals, the mermaid voices, where we’d sing all the ‘oooooohs.’ I hated ‘oooooohs.'”

Below is the concert I was at when Roger forgot the words. It’s around the 1:36 mark.

Pictures Of Lily

I used to wake up in the morningI always feel so gladI got so sick of having sleepless nightsI went and told my dad

He said, “Son, now here’s some little somethings”And stuck them on my wallAnd now my nights ain’t quite so lonelyIn fact I don’t feel bad at all (I don’t feel bad at all)

Pictures of Lily that make my life so wonderfulPictures of Lily that let me sleep at nightPictures of Lily that solved my childhood problemPictures of Lily, they make me feel alright

Pictures of Lily (pictures of Lily)Pictures of Lily (Lily, oh Lily)Pictures of Lily (Lily, oh Lily)Pictures of Lily (pictures of Lily)Pictures of Lily, pictures of LilyPictures of Lily, pictures of Lily

And then one day things weren’t so fineI fell in love with LilyI asked my dad where Lily I could findHe said, “Don’t be silly”

“She’s been dead since 1929”Oh, how I cried that nightIf only I’d been born in Lily’s timeIt would have been alrightThere were always pictures of Lily to help me sleep at nightPictures of Lily to help me feel alright

‘Cause me and Lily are together in my dreams (my mind)And I was wonderin’, mister, have you ever seen?

Pictures of Lily to help you sleep at nightPictures of Lily to help you feel alright

‘Cause me and Lily are together in my dreamsAnd I was wonderin’, mister, have you ever seenPictures of Lily?

Bob Seger – Ramblin’ Gamblin’ Man

Something about Bob Seger…the man paid his dues. Bob started in 1961 in the Detroit music scene in the Decibels. He kicked around in different bands through the years. His break-out song is this one. His friend, 19-year-old Glen Frey, plays acoustic guitar and sings backup on this song.

The song was a big hit in Michigan and eventually started to climb the charts. The song peaked at #17 on the Billboard 100 in 1969. It would be 1975 before Seger broke nationally. After hearing Gimme Some Loving by the Spencer Davis Group, Seger wanted that organ in a song. Bob Schultz, a Seger’s band member, played it on this track. From then on it became a part of the live sound.

Seger has had an interesting career. Before Against The Wind, before Night Moves, before the Silver Bullet Band even existed, Bob Seger made gritty, experimental garage rock. It was far from the radio hits that made him famous, and much closer to the punk of fellow Michigan musicians like Iggy Pop. At this time he would hang out with The Stooges and The MC5. They would eventually fade away but Seger matured as a songwriter and became a hit machine.

I’ve always liked Bob Seger. He gets heavy play here in the south and many of his songs have been played to death…but not this one. I like the rawness of this single.

Bob Seger: “We’d had a few records that were popular around town and you’d hear on the radio a lot, but, yeah, that was a little different. That was a hit.”

“I wasn’t necessarily a great songwriter at that time, I think I focused more on playing the guitar and singing… even though Dylan and Van Morrison were important to me and influences on me. That craft was something that developed slowly.”

A live version

Here is a very early look at Bob Seger

Ramblin’ Gamblin’ Man

Yeah, I’m gonna
Tell my tale, come on
Come on, ha, give a listen

Cause I was born lonely
Down by the riverside
Learned to spin fortune wheels
And throw dice

I was just thirteen
When I had to leave home
Knew I couldn’t stick around
I had to roam

Ain’t good looking
But you know I ain’t shy
Ain’t afraid to look
A girl in the eye

So if you need some loving
And you need it right away
Take a little time out
And maybe I’ll stay

[CHORUS]
But I got to ramble (rambling man)
I got to gamble (gambling man)
Got to, got to ramble (rambling man)
I was born a rambling, gambling man

Yeah, yeah, yeah….
Ha ha, bring it on
Come on down, yeah
All right, here we go
Now, now

I’m out of money
Cause you know I need some
Ain’t gone run out of loving
And I must run

Gotta keep moving
Never gonna slow down
You can have your funky world
See you round

Cause I got to ramble (rambling man)
I got to gamble (gambling man)
I got to ramble (rambling man)
Lord, I’m a rambling, gambling man

Oh, I’m just a rambler
Yeah, I’m just a gambler
Come on and sing along

Cause I’m just a rambler (rambling man)

Lord, I’m a gambler (gambling man)
I’m a rambler (rambling man)
Yeah, I’m a rambler…

Beatles – The Continuing Story of Bungalow Bill

“If looks could kill, it would have been us instead of him”.

I got the White Album and Abbey Road in the winter of 1981 and immediately fell in love with both, mainly the White Album. The sheer volume of variety knocked me out. I had heard a lot of the songs already but this album changed me musically. When our band started to play I always wanted a variety in our sets. I wanted to play the loudest raunchiest song and then the next one be the quietest song ever. One example would be AC/DC’s You Shook Me All Night Long and then…Wonderful Tonight. I try my best for the blog to be like that also. John Denver one day and then The Stones…it’s warped…but so am I.

This song stuck in my head for months but I didn’t mind. John wrote this one while all of the Beatles were in India visiting the Maraharshi. It’s based on a true story. When they were there they did meet a hunter who shot tigers. The hunter’s name was Richard A. Cooke, and his wife Bronwyn explained that Richard, “had asked the Maharishi if it was a sin to kill a tiger. John and George were in the room. Maharishi’s response was, ‘Life destruction is Life destruction.’ Rik has not shot anything since. He became a freelance photographer for National Geographic.”

Richard Cooke in the blue shirt

This event ended the hunting career of Richard Cooke III. He decided instead to take up professional photography, working as a freelancer for The National Geographic Society for the next 40 years. His mother Nancy remained friends with fellow meditator George Harrison until his death in 2001.

Sometime in 1969, Capitol released “Bungalow Bill” on a short lived format called “Playtape,” which was a tape cartridge made for portable players. Since there wasn’t much tape allotted to a cartridge, it took five volumes to contain most of the songs on the “White Album,” “Bungalow Bill” being featured on “The Beatles Vol. III.” These tapes are highly sought after today and are quite valuable.

It was widely known that John Lennon didn’t write fictional story songs. He was amazed that Paul wrote so many about fictional people like Rita the Meter Maid or Desmond and Molly. The only fictional departure from this song’s actual story is the throwback reference to comic books that John enjoyed during his childhood in the late ’50s and early ’60s. “Captain Marvel – The World’s Mightiest Mortal.”

It’s John’s voice through the verses that I like…he could make any song sound interesting.

John’s lyrics contain “zapped him right between the eyes.” This American comic book reference to someone ‘zapping’ someone was something that John thought to be humorous, so he added it into the story as an inside joke, emphatically repeated afterward as “ZZZZAP!”

The White Album was released in 1968 and peaked at #1 in the Billboard Album Chart, #1 in Canada, #1 in the UK, and #1 about everywhere else. The sessions were not the happiest time for the band but they came up with the most eclectic batch of songs they ever produced.

John Lennon: “At the Maharishi’s meditation camp, there was a guy who took a short break to go away and shoot a few poor tigers and then came back to commune with God. There used to be a character called Jungle Jim and I combined him with Buffalo Bill. It’s a sort of teenage social-comment song. It’s a bit of a joke.”

Paul McCartney: “This is another of his great songs and it’s one of my favorites to this day because it stands for a lot of what I stand for now. ‘Did you really have to shoot that tiger’ is its message. ‘Aren’t you a big guy? Aren’t you a brave man?’ I think John put it very well.”

John Lennon: “I had a sort of professional songwriter’s attitude to writing pop songs, I’d have a separate ‘songwriting’ John Lennon who wrote songs for the sort of meat market, and I didn’t consider them, the lyrics or anything, to have any depth at all. Then I started being me about the songs…not writing them objectively, but subjectively…I think it was Dylan that helped me realize that.”

The Continuing Story of Bungalow Bill

Hey, Bungalow Bill
What did you kill
Bungalow Bill?

He went out hunting with his elephant and gun
In case of accidents, he always took his mom
He’s the all-American bullet-headed Saxon mother’s son

All the children sing
Hey, Bungalow Bill
What did you kill
Bungalow Bill?

Hey, Bungalow Bill
What did you kill
Bungalow Bill?

Deep in the jungle where the mighty tiger lies
Bill and his elephants were taken by surprise
So Captain Marvel zapped him right between the eyes

All the children sing
Hey, Bungalow Bill
What did you kill
Bungalow Bill?

Hey, Bungalow Bill
What did you kill
Bungalow Bill?

The children asked him if to kill was not a sin
“Not when he looked so fierce”, his mommy butted in
“If looks could kill, it would have been us instead of him”.

All the children sing
Hey, Bungalow Bill
What did you kill
Bungalow Bill?

Hey, Bungalow Bill
What did you kill
Bungalow Bill?

Director Sam Mendes – 4 Movies on The Beatles

Sam Mendes has directed some huge films like 1917, American Beauty, Road To Perdition, and Skyfall to name just a few.

This looks interesting and new…and potentially groundbreaking. In recent years Queen and Elton John got a biopic treatment but I never thought someone would try The Beatles because it was a lot to put into one movie. Well this will be four different movies that will intersect through the perspective of each Beatle.

From this article:

Each film will be told from the point of view of a different band member, and will eventually “intersect to tell the astonishing story of the greatest band in history.” Sony will distribute the films worldwide in 2027 and with this intriguing promise: “The dating cadence of the films, the details of which will be shared closer to release, will be innovative and groundbreaking.”

Here are some more links

https://www.bbc.com/news/entertainment-arts-68350477

https://pitchfork.com/news/four-beatles-biopics-in-the-works-from-sam-mendes/

https://www.vulture.com/article/beatles-movies.html

…

Beatles – All You Need Is Love…Happy Valentines Day!

I posted this on February 14, 2021, and every year this is the first song that comes to mind on Valentine’s day. I then thought…enough time has gone by so I’m posting it again. Sorry to cheat but to me it is such a Valentines song that I just had to.

I hope all of you have a great Valentine’s Day… let’s join the Beatles on June 25, 1967, for All You Need Is Love. There’s nothing you can do that can’t be done…

How nerve-racking this had to be even if you were a Beatle. They performed this on one of the first Satellite hookups around the world. An estimated 350 million people were watching. This performance was a rock and roll milestone…they were in front of the world.

The show was called “Our World”, the first worldwide TV special. Broadcast in 24 countries on June 25, 1967, the show was six hours long and featured music from 6 continents, with The Beatles representing Britain.

If any of you remember this show…please comment.

At the Beatles’ feet were members of The Rolling Stones, The Who, Cream, The Hollies, and The Small Faces helping by singing along.

The song peaked at #1 almost everywhere and probably even in Venus and Mars in 1967.

Musically, this song is very unusual. The chorus is only one note, and the song is in a rare 7/4 tempo. In the orchestral ending, you can hear pieces of both “Greensleeves,” a Bach two-part invention (by George Martin) and Glenn Miller’s “In The Mood.” Royalties were paid to Miller for his contribution.

Just think of all of the bits of paper all of them wrote or scribbled on and threw away. John Lennon’s hand-written lyrics for this song sold for one million pounds in the summer of 2005. Lennon left them in the BBC studios after this appearance, and they were salvaged by a very smart BBC employee.

From Songfacts

The concept of the song was born out of a request to bring a song that was going to be understood by people of all nations. The writing began in late May of 1967, with John and Paul working on separate songs. It was decided that John’s “All You Need Is Love” was the better choice because of its easy to understand message of love and peace. The song was easy to play, the words easy to remember and it encompassed the feeling of the world’s youth during that period.

“All You Need Is Love” was a popular saying in the ’60s anti-war movement. The song was released in the middle of the Summer of Love (1967). It was a big part of the vibe.

John Lennon wrote this as a continuation of the idea he was trying to express in his 1965 song “The Word.” John was fascinated by how slogans effect the masses and was trying to capture the same essence as songs like “We Shall Overcome.” He once stated, “I like slogans. I like advertising. I love the telly.” In a 1971 interview about his song “Power To The People,” he was asked if that song was propaganda. He said, “Sure. So was ‘All You Need Is Love.’ I’m a revolutionary artist. My art is dedicated to change.”

It was not until 1983 and the publication of the in the book John Lennon: In My Life by Pete Shotton and Nicholas Schaffner that it was revealed that John Lennon was the primary composer of the song. It is typical of Lennon: Three long notes (“love -love -love”) and the rise of excitement with at first speaking, then recital, then singing, then the climax and finally the redemption. This as opposed to McCartney’s conventional verse, verse, middle part, verse or A,A,B,A. Lennon felt that a good song must have a rise of excitement, climax and redeeming.

Ringo’s second son, Jason, was born the day this hit #1 in the US: August 19, 1967. Jason is also a drummer.

McCartney sang the chorus to The Beatles 1963 hit, “She Loves You” at the end: “She loves you yeah yeah yeah… She loves you yeah yeah yeah”

This begins with a clip from the French national anthem, “La Marseillaise,” written and composed by Claude Joseph Rouget de Lisle in Strasbourg on April 25, 1792. Its original name was “Chant de guerre de l’Armee du Rhin” (“Marching Song of the Rhine Army”) and it was dedicated to Marshal Nicolas Luckner, a Bavarian-born French officer from Cham. It became the rallying call of the French Revolution and got its name because it was first sung on the streets by troops from Marseille upon their arrival in Paris. Now the national anthem of France, the song was also once the anthem of the international revolutionary movement, contrasting with the theme of The Beatles song. In the late 1970s, Serge Gainsbourg recorded a reggae version “Aux Armes et cetera,” with Robbie Shakespeare, Sly Dunbar and Rita Marley in the choir in Jamaica, which resulted in him getting death threats from veterans of the Algerian War of Independence.

Al and Tipper Gore had this song played at their wedding. They married in 1970 and separated in 2010.

George Harrison mentioned this in his 1981 song “All Those Years Ago” with the line, “But you point the way to the truth when you say ‘All you need is love.'” Harrison’s song is a tribute to John Lennon, who was killed in 1980.

This was used in the climactic final episode of the UK sci-fi series The Prisoner, and was the entrance music for Queen Elizabeth II during the UK Millennial celebrations of 1999. It was also sung by choirs across the kingdom in 2002 during the Queen’s Golden Jubilee celebration.

In 2007, this was used in an advertising campaign for Luvs diapers with the lyrics changed to “All You Need Is Luvs.” While Beatles songs have been used in commercials before, notably “Revolution” in spots for Nike and “Hello Goodbye” for Target, this peace anthem shilling for diapers didn’t go over well with fans who thought it sullied The Beatles legacy. The publishing rights to “All You Need Is Love” and most other Beatles songs are controlled by the Sony corporation and Michael Jackson, which means The Beatles cannot prevent a company from re-recording the song and using it in a commercial.

When asked what his favorite lyric is during an interview with NME, John Lennon’s son Sean replied: “My list of favorite things changes from day to day. I like when my dad said: ‘There’s nothing you can know that isn’t known/ Nothing you can see that isn’t shown/ Nowhere you can go that isn’t where you’re meant to be.’ It seems to be a good representation of the sort of enlightenment that came out of the ’60s.”

All You Need Is Love

Love, love, love
Love, love, love
Love, love, love

There’s nothing you can do that can’t be done
Nothing you can sing that can’t be sung
Nothing you can say, but you can learn how to play the game
It’s easy
Nothing you can make that can’t be made
No one you can save that can’t be saved
Nothing you can do, but you can learn how to be you in time
It’s easy

All you need is love
All you need is love
All you need is love, love
Love is all you need

There’s nothing you can know that isn’t known
Nothing you can see that isn’t shown
There’s nowhere you can be that isn’t where you’re meant to be
It’s easy

All you need is love
All you need is love
All you need is love, love
Love is all you need

All you need is love (all together now)
All you need is love (everybody)
All you need is love, love
Love is all you need

Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
Love is all you need
(Love is all you need)
(Love is all you need)
(Love is all you need)
(Love is all you need)
Yesterday
(Love is all you need)
Oh
Love is all you need
Love is all you need
Oh yeah
Love is all you need
(She love you, yeah, yeah, yeah)
(She love you, yeah, yeah, yeah)
(Love is all you need)
(Love is all you need)

….

Velvet Underground – I’m Waiting For The Man

When I think of The Velvet Underground… the bands Big Star and The Replacements come up. Those three bands influenced a huge range of other bands but didn’t come along at the right time to make it themselves. They never had mainstream success but their music lives on with every 15-year-old guitar player that picks up one of their albums.

Ask Peter Buck, Paul Westerberg, Paul Stanley, and Rick Nielsen, about some of their influences. The Underground would come up and Big Star… In the 90s performers such as Kurt Cobain and Green Day were heavily influenced by The Replacements. Ok, I’ll step off of my soapbox now.

While the West Coast bands at the time had songs about free love and romanticized the psychedelic experience… The Velvet Underground was more about New York’s dirty streets and drug addictions.

It’s no big secret what this song is about. Waiting for his drug dealer to come. The song is about scoring $26 worth of heroin in Harlem. According to Rolling Stone magazine, Reed said: “Everything about that song holds true, except the price.” The place where the deal took place is a Harlem brownstone near the intersection of Lexington Avenue and 125th Street to buy drugs from a dealer.

The song was released in 1967 on The Velvet Underground & Nico album. Songs like “I’m Waiting For The Man,” “Heroin,” and “Venus In Furs” were what kept The Velvet Underground out of a record contract with Atlantic Records. Atlantic executive Ahmet Ertegun told them he would take them if they would drop those songs about drugs…they refused. They would eventually (1970) sign with Cotillion Records (a subsidiary of Atlantic Records that specialized in blues and Southern soul). Until then they were signed to Verve Records…subsidiary of MGM.

Lou Reed wrote this song. John Cale who played piano and bass guitar started to push Reed into more avant grade directions. You can hear Cale’s influence on Reed by listening to the demo version. It sounds like a traditional blues song. I have it at the bottom also above the studio version. The versions are night and day.

The album peaked at #129 on the Billboard Album Charts, and #43 in the UK in 1967.

David Bowie: “I actually played ‘Waiting for the Man’ in Britain with my band before the album was even released in America. Talk about oneupsmanship. A friend of mine came over to the states to do some work with Andy Warhol at The Factory, and as he was leaving, Andy said, ‘Oh, I just made this album with some people. Maybe you can take it back to England and see if you can get any interest over there.’ And it was still the vinyl test pressing. It hadn’t got a company or anything at the time. I still have it. There’s a white label on it, and it says ‘Warhol.’ He signed it. My friend gave it to me and he said, ‘This is crap. You like weird stuff, so maybe you’ll enjoy it.’ I played it and it was like ‘Ah, this is the future of music!’ I was in awe. It was serious and dangerous and I loved it. And I literally went into a band rehearsal the next day, put the album down and said, ‘We’re going to learn this song. It is unlike anything I’ve ever heard.’ We learned ‘Waiting for the Man’ right then and there, and we were playing it on stage within a week. I told Lou that, and he loved it. I must have been the first person in the world to cover a Velvet Underground song.”

The DEMO version

I’m Waiting For the Man

I’m waiting for my man
Twenty-six dollars in my hand
Up to Lexington, 125
Feel sick and dirty, more dead than alive
I’m waiting for my man

Hey, white boy, what you doin’ uptown?
Hey, white boy, you chasin’ our women around?
Oh pardon me sir, it’s the furthest from my mind
I’m just lookin’ for a dear, dear friend of mine
I’m waiting for my man

Here he comes, he’s all dressed in black
PR shoes and a big straw hat
He’s never early, he’s always late
First thing you learn is you always gotta wait
I’m waiting for my man

Up to a Brownstone, up three flights of stairs
Everybody’s pinned you, but nobody cares
He’s got the works, gives you sweet taste
Ah then you gotta split because you got no time to waste
I’m waiting for my man

Baby don’t you holler, darlin’ don’t you bawl and shout
I’m feeling good, you know I’m gonna work it on out
I’m feeling good, I’m feeling oh so fine
Until tomorrow, but that’s just some other time
I’m waiting for my man

Beatles – You Really Got A Hold On Me

I had this scheduled for later in March but since it’s February 9…I thought I would move it up. It was exactly 60 years ago today on February 9, 1964, that The Beatles appeared on the Ed Sullivan Show for the first time.

This Smokey Robinson song is a great one…I really like both versions of this song. You can’t go wrong with either one. You will not beat Smokey’s voice but I like how The Beatles adapted their sound to it. Lennon did a great job on this one. This is close to what the Beatles would have sounded like in the Cavern or Hamburg.

The Beatles liked covering B sides and songs that were not hits but this one was a hit just the year before. Smokey was a huge influence on them in this time frame of 1962-63. Seven live takes of the song were first recorded, featuring all four Beatles playing their usual instruments and singing without overdubs, accompanied by producer George Martin on piano. Only four of these performances were complete (three of them being false starts), “take seven” being the keeper. The song was featured on With The Beatles released in the UK on November 22, 1963.

Smokey Robinson said he was thrilled that The Beatles would cover one of his songs. He also said that The Beatles were the first white band that came out and said they were influenced by him and other black artists. He also said they helped other black artists when they made that statement to be heard.

Later on when the Beatles toured America…it was written in their contract that they would absolutely not play in front of a segregated audience.

Robinson was influenced by Sam Cooke’s Bring It All Home To Me…which I can hear. Cooke would sometimes perform at Robinson’s church with his group the Soul Stirrers and Robinson was a huge fan.

While recording the vocal track for the song “Woman” on the Double Fantasy album… Yoko commented that John sounded like a Beatle. Lennon corrected her by saying, “Actually I’m supposed to be Smokey Robinson at the moment, my dear, because The Beatles were always supposing that they were Smokey Robinson.”

You Really Got A Hold On Me

I don’t like you
But I love you
See that I’m always
Thinking of you

Oh, oh, oh,
You treat me badly
I love you madly
You’ve really got a hold on me
You’ve really got a hold on me, baby

I don’t want you
But I need you
Don’t want to kiss you
But I need you
Oh, oh, oh

You do me wring now
My love is strong now
You’ve really got a hold on me
You’ve really got a hold on me, baby
I love you and all I want you to do
Is just hold me, hold me, hold me, hold me

I want to leave you
Don’t want to stay here
Don’t want to spend
Another day here

Oh, oh, oh, I want to split now
I just can quit now
You’ve really got a hold on me
You’ve really got a hold on me, baby
I love you and all I want you to do
Is just hold me, hold me, hold me, hold me
You’ve really got a hold on me
You’ve really got a hold on me