My Top 10 Favorite Live Albums

I’m more of a studio guy when it comes to listening to bands but there are a few live albums I really like. This is my top 10 and a few honorable mentions at the bottom. Very few artists can improve on the studio version but sometimes some manage to pull it off.

10. Led Zeppelin –  How the West Was Won – After the disappointing live album The Song Remains The Same, this album released in 2003 contained Led Zeppelin live in 1972 from two shows in top form.

How the West Was Won (Live) (3-CD)

9: Simon And Garfunkel – The Concert In Central Park – This was big for me when it was released. I had by this time worn a groove out in their greatest hits. The band was great and their harmonies were as good as ever.

Image result for Simon And Garfunkel – The Concert In Central Park

8: George Harrison – The Concert For Bangladesh – Fun to listen to George freed from the Beatles and he sounds great with Dylan, Billy Preston, Ringo, and other friends.

Image result for George Harrison – The Concert For Bangladesh

 

7: The Band: The Last Waltz – One of the best live albums ever. The Band’s last concert with Robbie with a host of talented famous friends. I still don’t get the Neil Diamond selection…nothing against Neil…he didn’t fit in with this atmosphere.

Image result for The Band: The Last Waltz album

6: The Allman Brothers Band “At Fillmore East” – This album floats up and down this list depending on my mood. It was at number 2 when I first made this list a couple of weeks ago. This band was probably one of the most talented bands in the seventies. I didn’t start heavily listening to them until around 5-10 years ago. They are better live than in the studio. There was not a weak link in this 6 piece band…especially in the Duane version but later incarnations were almost as strong.

At The Fillmore East (2LPs - 180GV)

5: Bruce Springsteen & the E Street Band, ‘Live/1975-85’ – I listened to this so much in the 80s that I knew the stories Bruce would tell by heart. Later when listening to the studio version of a song I would expect the story that went with it.

Image result for Bruce Springsteen & the E Street Band, ‘Live/1975-85’

4: Paul McCartney  Wings Over America – This triple album set was a live greatest hits. The songs had some edge to them thanks to Jimmy McCulloch the young prodigy guitar player.  Paul even broke his silence on the Beatles and included five Beatle songs. Blackbird, I’ve Just Seen a Face, Yesterday, The Long and Winding Road, and Lady Madonna. Unlike the other 3 albums ahead of this on in the list, Paul didn’t mess with the songs too much from the original studio recordings.

Wings over America

3: The Rolling Stones – ‘”Get Yer Ya-Ya’s Out!” – This tour and the 1972  tour were the Stones at their live peak.

Image result for the rolling stones get yer ya-ya's out

2: Bob Dylan – The Bootleg Series, Vol. 4: Bob Dylan Live 1966, The “Royal Albert Hall” Concert – I have seen Dylan 8 times but if I could pick a tour to see him on…I would go back and this would be the one. With The Band backing him up…minus Levon Helm but Mickey Jones on drums is very powerful.

Image result for bob dylan 1966 royal albert hall concert

1: The Who – ‘Live at Leeds’ This album highlights The Who at their best. I don’t think I’ve ever heard a rock band so tight. The power of the performance is huge. Pete Townshend told his soundman Bob Pridden to erase all other shows on this tour at the time…Bob did… much to Pete’s regret later on.

The Who - Live at Leeds By The Who

 

 

Honorable Mentions

Beatles Live At The Star-Club in Hamburg Germany – The quality of the recording is pretty bad but it’s exciting to hear the punkish Beatles before Beatlemania hit.

The Kinks – One For The Road

Neil Young & Crazy Horse –  Live Rust

Johnny Cash – At Folsom Prison

The Band – Rock of Ages

Cheap Trick – At Budokan

Elvis (68 Comeback Special)

 

Classic TV Episodes: The Andy Griffith Show – The Pickle Story

Some shows are easy to pick a classic episode…this one not so much. There are so many to pick from but personally, I really like this one. It was reported that The Pickle Story was Don Knott’s favorite of the series. Aunt Bee was a fantastic cook but don’t ask her to make pickles or marmalade. Andy, Barney, and Opie pays when she does…

“You mean you actually WANT her to make another batch of them kerosene cucumbers?”
” I gotta tell ya, my heart ain’t in this… Well, it’s not so much your heart we need, it’s your stomach”
“I don’t know how I can face the future when I know there’s eight quarts of these pickles in it.

The ANDY GRIFFITH SHOW – The Pickle Story

This show’s writing was top notch. There are a lot of shows that are memorable with The Andy Griffith Show. The Characters are Aunt Bee, Barney Fife, Opie Taylor, Andy Taylor, Clara Johnson, Motorist from Oregon, County Fair Judge

Clara drops by the Taylor house so Bee can sample some of the pickles she’s been working on for the county fair, which are delicious – they’ve won the blue ribbon 11 years in a row. Bee lets her sample some of the pickles that she’s been putting up for the family, which are terrible – the bane of her family’s meals for years. Aghast at the horrible concoction, Clara launches into a long list of polite suggestions that might help to make them better, but Bee waves them off. No less flabbergasted by her “kerosene cucumbers” are Andy and Barney who, unlike Clara, don’t know how to tell her that they’re awful. As a survival tactic, Andy and Barney plot to make her pickles edible by placing store-bought pickles in Aunt Bee’s jars while placing her pickles in store jars with Barney handing them out as gifts to passing motorists heading far away.

The plot works, but then Bee announces her decision to enter her pickles at the fair. Andy and Barney consider letting the matter slide, but when Clara drops by the courthouse to let Andy sample her pickles and pours her heart out about how much winning the contest at the fair means to her, Andy feels bad and suggests to Barney that they reverse their plan by eating all the store pickles so that Aunt Bee will have to make more. They do, she does, and once again they’re terrible – only this time it’ll be according to the judges at the fair. The winner is Clara for the 12th year in a row. Unfazed, Aunt Bee announces to Andy and Barney that, due to their recent appetite for her pickles, she’s made 16 jars for them to enjoy. Along with that terrible news, they also discover she’s started making heinous marmalade.

 

https://www.imdb.com/title/tt0512602/

 

The Litter – Action Woman

I love garage rock and this song is what it’s all about. Distortion and feedback with a driving beat.

Action Woman is The Litter’s most well-known song. With its demonic fuzz/feedback guitar riffs and snarling lead vocal, it was an archetype of the tough ’60s garage rock and a precursor of the 70s punk movement.

The Litter was heavily influenced by British Invasion bands such as The Yardbirds and the Who, they recorded their debut single, Action Woman backed by The Who’s A Legal Matter with local producer Warren Kendrick in late 1966.

Kendrick wrote Action Woman for them. They finally signed to a major label in 1969 but their distortion was toned down a bit and their singer and guitar player was replaced. Their album Emerge peaked at #175 in the Billboard Album Chart.

The B side…Cover of The Who’s  Legal Matter

Action Woman

Hey, Miss High and Mighty
I’ve had all I can take
Walkin’ right on by me
That’s your last mistake

I’ve gotta find myself some action
To satisfy my soul
A little mad distraction
Before I lose control

You say you love me good
But why are you so cold?
You say you own the world,
But you don’t own my soul.

A little competition, now
Maybe that’ll wake you up,
Stir up some ambition, yeah
And really shake you up.

Yeah! Oh!

I’m gonna find me an action woman
To love me all the time,
A satisfaction woman
Before I lose my mind.

Yeah, I’m gonna find me an action woman
To love me all the time,
A satisfaction woman
Before I lose my mind.

I’m gonna find me an action woman
A satisfaction woman!
I’m gonna find me an action woman! (fade out)

The Band – The Night They Drove Old Dixie Down

This song was a B side to Cripple Creek. This was on the Band’s self-titled second album The Band with peaked at #9 in 1970 in the Billboard Album Charts. The song was written by Robbie Robertson:

’ I told Levon I wanted to write lyrics about the Civil War from a southern family’s point of view. ‘Don’t mention Abraham Lincoln in the lyrics’ was his only advice, ‘That won’t go down too well.’ I asked him to drive me to the Woodstock library so I could do a little research on the Confederacy. They didn’t teach that stuff in Canadian Schools. When I conjured up the story about Virgil Caine and his kin against this historical backdrop, the song came to life for me. Though I did stop and wonder, can I get away with this? You call this rock ‘n’ roll? Maybe!

Joan Baez covered this song and it peaked at #3 in the Billboard 100 in 1971…while the Bands version didn’t chart…Life isn’t fair at times. Asked about the Baez version of this song, Robbie Robertson said it was “a little happy-go-lucky for me,” but he was thankful that it introduced many listeners to The Band.

The song appeared at number 245 on Rolling Stone magazine’s list of the 500 greatest songs of all time.

From Songfacts

Robbie Robertson wrote this song, which is set during the American Civil War – “Dixie” is a term indicating the old American South, which was defeated by the Union army. The song is not related to his heritage, as Robertson is half-Mohawk Indian, half-Jewish Canadian.

Robertson came up with the music for this song, and then got the idea for the lyrics when he thought about the saying “The South will rise again,” which he heard the first time he visited the American South. This led him to research the Civil War. 

The main character in the song, Virgil Caine, is fictional, but there really was a “Danville train” and “Stoneman’s cavalry.”

The train would have been part of the Richmond and Danville Railroad, a vital conduit for the Confederate Army. George Stoneman was a Union cavalry officer who led raids on the railroad.

The vocals featured the 3-part harmonies of Levon Helm, Richard Manuel, and Rick Danko on the choruses, and Helm sang the verses. He was the only band member who was from the South (Arkansas), so it was fitting that he played the role of Virgil Caine, a Virginia train worker, in this song.

This was recorded in Sammy Davis Jr.’s house in Los Angeles. The Band rented it and converted a poolhouse into a studio to record their second album.

Joan Baez covered this in 1971. It was her biggest hit, reaching US #3 and UK #6.

Her version was recorded at Quad Studios in Nashville with producer Norman Putnam, who gathered about 20 people from around the studio to sing on the chorus. One of those voices belongs to Jimmy Buffett, who Putnam would later work with on his album Changes in Latitudes, Changes in Attitudes.

Baez changed some of the lyrics on her version. For example, she sings, “Virgil Cain is my name and I drove on the Danville train. ‘Til so much cavalry came and tore up the tracks again.” The original lyrics are, “Virgil Cain is THE name and I SERVED on the Danville train. ‘Til STONEMAN’S cavalry came and tore up the tracks again” referring to George Stoneman, who was a general in the Union army). 

This was used as the B-side to “Up On Cripple Creek.”

The Night They Drove Old Dixie Down

Virgil Caine is the name, and I served on the Danville train
‘Til Stoneman’s cavalry came and tore up the tracks again
In the winter of ’65, we were hungry, just barely alive
By May the tenth, Richmond had fell, it’s a time I remember, oh so well

The night they drove old Dixie down, and the bells were ringing
The night they drove old Dixie down, and the people were singin’ they went
La, la, la, la, la, la, la, la, la, la, la, la, la, la

Back with my wife in Tennessee, when one day she called to me
“Virgil, quick, come see, there goes Robert E Lee”
Now I don’t mind choppin’ wood, and I don’t care if the money’s no good
Ya take what ya need and ya leave the rest
But they should never have taken the very best

The night they drove old Dixie down, and the bells were ringing
The night they drove old Dixie down, and the people were singin’ they went
La, la, la, la, la, la, la, la, la, la, la, la, la, la

Like my father before me, I will work the land
Like my brother above me, who took a rebel stand
He was just eighteen, proud and brave, but a Yankee laid him in his grave
I swear by the mud below my feet
You can’t raise a Caine back up when he’s in defeat

The night they drove old Dixie down, and the bells were ringing
The night they drove old Dixie down, and all the people were singin’, they went
Na, la, na, la, na, na, na, na, na, na, na, na, na, na

The night they drove old Dixie down, and all the bells were ringing
The night they drove old Dixie down, and the people were singin’, they went
Na, la, na, la, na, na, na, na, na, na, na, na, na, na

Neil Diamond – Cherry Cherry

Great guitar riff that has been recycled into many songs, catchy chorus, and Neils unique voice. A nice mid-sixties rocker.

This started out with a guitar lick Diamond came up with that caught Jeff Barry’s ear. He and Greenwich loved it and encouraged Neil to finish the song. Jeff Barry and Ellie Greenwich produced the song.

The song peaked at #6 in the Billboard 100 in 1966.

In an interview with Melody Maker, Jeff Barry said that this song was originally “Money, Money,” but that he and Bang records owner Bert Berns convinced Diamond to make it lighter and more teen-friendly.

Neil Diamon has had 3 number 1 hits,  13 top ten hits, and  53 songs in the Billboard 100. 

From Songfacts

Neil Diamond is the only credited songwriter on this track, but he got some help from Jeff Barry and Ellie Greenwich, who worked with him after he signed with Bang Records and produced the song. Barry and Greenwich were part of the Brill Building songwriting community, and had written many major hits, including “Be My Baby” and “Chapel Of Love.” They mentored Diamond early in his career and helped him create this Pop nugget, which helped make him a star.

Ever notice that there are no drums in this song? That’s because the version you hear was intended as a demo, with hand claps providing the drum beat. Diamond recorded the demo with Barry and Greenwich on backing vocals and Artie Butler on piano and Hammond organ. When they recorded the song in an official session complete with horns and drums, they couldn’t capture the exuberance of the demo. The drum and horn version was included on Diamond’s 1996 anthology In My Lifetime.

When this became a hit, Diamond’s songs were in demand. This led to The Monkees recording of Diamond’s “I’m A Believer,” which was the biggest hit of 1967.

Ellie Greenwich was not just a premier league songwriter, she was a fine backing singer as well; she and Jeff Barry often did the backing vocals for the songs they wrote. Neil Diamond recalled to Rolling Stone her contribution to this song: “Ellie was the best background singer ever. She did all the background parts on my early Bang records, ‘Cherry Cherry,’ ‘She Got the Way to Move Me,’ ‘Kentucky Woman’ – all of those records were Jeff and Ellie. They just had this great knack of singing all kinds of background parts and they were great at it. She invented the background parts to ‘Cherry Cherry.'”

Diamond made his TV debut performing this song on American Bandstand in 1966. Said Diamond, “American Bandstand was the holy grail of television shows for any Rock and Roll artist at that time.”

Cherry Cherry

Baby loves me
Yes, yes she does
Ah, the girl’s outta sight, yeah
Says she loves me

Yes, yes she does
Gonna show me tonight, yeah

She got the way to move me, Cherry
She got the way to groove me
She got the way to move me
She got the way to groove me

Tell your mamma, girl, I can’t stay long
We got things we gotta catch up on
Mmmm, you know
You know what I’m sayin’

Can’t stand still while the music is playin’
why’ain’t got no right
No, no you don’t
Ah, to be so exciting

Won’t need bright lights
No, no we won’t
Gonna make our own lighting

She got the way to move me, Cherry
She got the way to groove me
She got the way to move me
She got the way to groove me

No, we won’t tell a soul where we gone to
Girl, we do whatever we want to
Ah, I love the way that you do me
Cherry, babe, you really get to me

She got the way to move me, Cherry
She got the way to groove me
She got the way to move me
She got the way to groove me

Roger Miller – King of the Road

Trailer for sale or rent
Rooms to let… fifty cent
No phone, no pool, no pets
I ain’t got no cigarettes
Ah, but..two hours of pushin’ broom
Buys an eight by twelve four-bit room
I’m a man of means by no means
King of the road

I love the lyrics and the feel of this song. This peaked at #4 in the Billboard 100, #1 in the UK, #1 in the Billboard Country Charts, and #1 in Canada in 1965.

The song won 1965 Grammy awards for Best Contemporary Rock ‘N Roll Single, Best Contemporary Vocal Performance, Best Country & Western Recording, Best Country Vocal Performance, and Best Country Song.

I remember the song because in Nashville they opened a King Of The Road Hotel…Miller opened two “King of the Road” Motor Inns in the early ’70s – one in Nashville, and another in Valdosta, Georgia. Unlike the cheap digs Miller sings about in his song, however, these Motels were billed as “luxury accommodations” and had a very modern motif. At the Nashville location, a music club on the top floor became a popular spot for many local musicians to perform. Ronnie Milsap played there many times, and Miller would often play as well.

From Songfacts

The title of this song is an allusion to hoboes and tramps, who were known as “knights of the road.” The song tells of the happy hobo lifestyle, with few creature comforts but plenty of freedom.

On Roger Miller’s website, it explains that Miller wrote this song over a 6-week span, beginning on a 1964 Midwest TV tour. He wrote the first verse when he saw a “Trailers for Sale or Rent” sign on the road outside Chicago. A few weeks later, he bought a statuette of a hobo in Boise, Idaho airport gift shop and stared at it until he had completed the song.

Miller has given at least one other explanation for how he came up with the song, however. When he was the co-host on the Mike Douglas Show August 11, 1969, he revealed that the idea for “King Of The Road” came when he was driving in Indiana and saw a sign offering trailers for sale or rent, and it stuck in his mind. Said Miller, “I was doing a show in a place you have probably never heard of called Kitchener, Ontario, Canada, and I saw a statue of a hobo in a cigar shop were I was staying. I purchased it and took it to my room and wrote the song.”

So we know there was a sign and a hobo statue, but where they came from is unclear. Miller would sometimes introduce the song by saying, “Here’s a song I wrote on a rainy night in Boise, Idaho,” which is much more identifiable for American listeners (especially in Nashville) than Kitchener, Ontario. Miller’s widow says that she’s not sure, and the Kitchener story could very well be true.

To further complicate matters, Nashville lore has it that Miller drew inspiration from the “Trailers for sale or rent” sign at Dunn’s Trailer Court, where he lived when he moved from Amarillo to Nashville with his wife and three kids. This was a popular place for aspiring Country singers on tight budgets: Hank Cochran and Willie Nelson both stayed there as well.

MIller’s scribbling of King of the Road now hangs in a shadowbox at the Country Music Hall of Fame.

The song won 1965 Grammy awards for Best Contemporary Rock ‘N Roll Single, Best Contemporary Vocal Performance, Best Country & Western Recording, Best Country Vocal Performance, and Best Country Song.

This is the most popular song to mention the state of Maine in the lyric (“destination Bangor, Maine”). A contender for #2 is the 2009 hit “Out Last Night” by Kenny Chesney, where he sings:

There were girls from Argentina and Arkansas
Maine, Alabama, and Panama

King Of The Road

Trailer for sale or rent
Rooms to let… fifty cent
No phone, no pool, no pets
I ain’t got no cigarettes
Ah, but..two hours of pushin’ broom
Buys an eight by twelve four-bit room
I’m a man of means by no means
King of the road

Third boxcar, midnight train
Destination… Bangor, Maine
Old worn out clothes and shoes,
I don’t pay no union dues,
I smoke old stogies I have found
Short, but not too big around
I’m a man of means by no means
King of the road

I know every engineer on every train
All of their children, and all of their names
And every handout in every town
And every lock that ain’t locked
When no one’s around

I sing,
Trailers for sale or rent
Rooms to let, fifty cents
No phone, no pool, no pets
I ain’t got no cigarettes
Ah, but, two hours of pushin’ broom
Buys an eight by twelve four-bit room
I’m a man of means by no means
King of the road

Cream – White Room

Ginger Baker passed away Sunday, October 6th… Ginger was one of the best drummers in rock history.

Paul McCartney: Ginger Baker, great drummer, wild and lovely guy. We worked together on the ‘Band on the Run’ album in his ARC Studio, Lagos, Nigeria. Sad to hear that he died but the memories never will. X Paul

Mick Jagger: Sad news hearing that Ginger Baker has died, I remember playing with him very early on in Alexis Korner’s Blues Incorporated. He was a fiery but extremely talented and innovative drummer.

John Densmore: A drumming force of nature, Ginger Baker has broke on through. Emblematic of his influence, I put 2 bars of his reverse-beat in “Hello, I Love You.” 

Pete Brown wrote the lyrics and Jack Bruce wrote the music to White Room. He was inspired by a cycling tour that he took in France. The “white room” was a literal place: a room in an apartment where Pete Brown was living. It was not, as some suspected, an institution.

The music was written first. Pete Brown’s first attempt at a lyric was something about a doomed hippie girl – the song was called “Cinderella’s Last Goodnight.” Jack Bruce didn’t like it, so he scrapped that idea and pulled up an eight-page poem he had written earlier, which he reworked into White Room.

Pete Brown: “It was a miracle it worked, considering it was me writing a monologue about a new flat.”

The song peaked at #6 in the Billboard 100 in 1968.

Cream in the 1970s… Pattie Boyd took the photo.

From Songfacts

This song is about depression and hopelessness, but the setting is an empty apartment. The lyrics were written by a poet named Pete Brown, who was a friend of Cream bass player Jack Bruce, the lead vocalist on the track. Brown also wrote the words for “Sunshine Of Your Love,” “I Feel Free” and “SWLABR.”

In a Songfacts interview with Pete Brown, he told the story: “It was a meandering thing about a relationship that I was in and how I was at the time. It was a kind of watershed period really. It was a time before I stopped being a relative barman and became a songwriter, because I was a professional poet, you know. I was doing poetry readings and making a living from that. It wasn’t a very good living, and then I got asked to work by Ginger and Jack with them and then started to make a kind of living.

And there was this kind of transitional period where I lived in this actual white room and was trying to come to terms with various things that were going on. It’s a place where I stopped, I gave up all drugs and alcohol at that time in 1967 as a result of being in the white room, so it was a kind of watershed period. That song’s like a kind of weird little movie: it changes perspectives all the time. That’s why it’s probably lasted – it’s got a kind of mystery to it.”

Upon its release, Wheels Of Fire was given a terrible review by Rolling Stone magazine. They claim that “White Room” has “The exact same lines for guitar, bass and drums” as “Tales Of Brave Ulysses.” If you listen to both songs, they are somewhat similar, but nowhere near the level they claim. 

Eric Clapton used a wah-wah pedal on his guitar. He got the idea from Jimi Hendrix.

Clapton’s solo earned the #2 spot on Guitar World’s greatest wah solos of all time in 2015. The #1 spot? Hendrix’ “Voodoo Child (Slight Return).”

Why are the starlings tired? Because the pollution in London was killing them. Pete Brown also told us: “The ‘tired starlings’ is also a little bit of a metaphor for the feminine in a way, as well. It was women having to put up with rather a lot – too much pressure on them at the time.”

More lyric interpretation courtesy of Pete Brown:

“Goodbye Windows” – “Just people waving goodbye from train windows.”

“Black-roof Country” – “That was the kind of area that I lived in. There were still steam trains at one point around that area, so the roofs were black. It was black and sooty. It’s got that kind of a feel to it.”

On their last tour before the band broke up, Cream opened most of their shows with this song. When Cream did a reunion tour in 2005, they played it near the end of the sets.

Clapton refused to play this after leaving Cream until 1985, when Paul Shaffer urged him to play it while he was sitting in with the band on Late Night With David Letterman. That same year, Clapton played it at Live Aid.

This was released as a single after Cream had broken up. It did better in the US than in England, since Cream had caught on in the States.

In 2000, Apple Computer used this in commercials for their white iMacs. While the song does have the word “white” in the title, the subject matter is not good for selling computers.

Jack Bruce recorded a new, Latin-influenced version on his 2001 album Shadows In The Air. Clapton played on this as well as his new recording of “Sunshine Of Your Love.”

Clapton performed this in 1999 for the album Sheryl Crow and Friends: Live From Central Park. Clapton and Crow were an item for a time in the ’90s.

White Room

In the white room with black curtains near the station
Black roof country, no gold pavements, tired starlings
Silver horses ran down moonbeams in your dark eyes
Dawnlight smiles on you leaving, my contentment

I’ll wait in this place where the sun never shines
Wait in this place where the shadows run from themselves

You said no strings could secure you at the station
Platform ticket, restless diesels, goodbye windows
I walked into such a sad time at the station
As I walked out, felt my own need just beginning

I’ll wait in the queue when the trains come back
Lie with you where the shadows run from themselves

At the party she was kindness in the hard crowd
Consolation for the old wound now forgotten
Yellow tigers crouched in jungles in her dark eyes
She’s just dressing, goodbye windows, tired starlings

I’ll sleep in this place with the lonely crowd
Lie in the dark where the shadows run from themselves

Yogi Bear

Yogi Bear –  “I’m smarter than the average bear”,

I always liked Yogi Bear and would watch it when I got a chance…if only for the way he said pic-a-nic baskets.

Yogi first started out as a sidekick in a Hanna-Barbera show called The Huckleberry Hound Show in 1958. He was the first Hanna-Barbera character to break out.

In 1961 he was given his own show called The Yogi Bear Show. His show included other segments like Yakky Doodle and Snagglepuss.  The show also featured episodes with Yogi Bear breaking away from the unadventurous life of other bears in Yellowstone Park.

The plot was basically Yogi raiding picnic baskets, dodging hibernation, being chased by Ranger Smith,  and making money together with his more honest sidekick Boo-Boo Bear. The show also featured episodes of Ranger Smith trying to tame Yogi and Boo-Boo Bear.

Around this time the great baseball player Yogi Berra sued Hanna-Barbera for defamation. But Hanna-Barbera claimed that the similarity of the names was just purely coincidental. Eventually, Yogi Berra withdrew his suit. When Yogi Berra died the AP’s wire service mistakenly announced the death of Yogi Bear instead…that is sad.

Yogi starred in a feature film, Hey There, It’s Yogi Bear, in 1964.

Yogi’s personality was based on Art Carney’s character from The Honeymooners.

The Yogi Bear Show lasted only 2 season but other shows featuring Yogi continued on. Yogi Bear and Friends, Yogi’s Gang, Yogi’s Space Race, Galaxy Goof-Ups, Yogi’s Treasure Hunt, The New Yogi Bear Show, and Yo Yogi! Yogi was on the air from 1958 to the 1990s.

Daws Butler originated the voice of Yogi and did it from 1958 to 1988 when he passed away. He was replaced by Greg Burson who was personally taught by Butler on how to do Yogi’s voice and other characters.

Ray Charles – Georgia On My Mind

I first heard this at home because my mom had Ray Charles’s greatest hits. One of the most beautiful songs ever…and Ray’s voice made it that much better.

This was written by Hoagy Carmichael and Stuart Gorrell in 1930. Carmichael was an actor, performer, and popular songwriter, some of his other compositions include “Stardust” and “Winter Moon.” Gorrell was a banker living in New York City, and he wrote the lyrics.

The song peaked at #1 in the Billboard 100 in 1960. Mr. Charles had an incredible 75 songs in the top 100, 11 top 10 hits, and 3 number 1 hits.

On April 24, 1979, this became the official state song of Georgia.

From Songfacts

It’s possible that this was written about a woman, not the state. Carmichael and Gorrell didn’t live in Georgia, but Carmichael did have a sister named Georgia.

This was a #10 hit for a jazz saxophone player named Frankie Trumbauer in 1931. Many artists have recorded it over the years, including Louis Armstrong, James Brown (a Georgia native), Django Reinhardt, and Willie Nelson. Charles’ version is by far the most famous.

Charles decided to record this song after his driver suggested it, since Ray kept singing it while riding in the car.

Ray Charles was born in Albany, Georgia. His family moved to Florida when he was still a baby.

The orchestra was arranged by Ralph Burns, Woody Herman’s pianist.

This was recorded quickly in New York City – it took only four takes to complete (compared to Charles’ usual 10-12 takes).

This won Grammy awards for Best Male Vocal Recording and Best Pop Song Performance. The album also won for Best Male Vocal Performance Album, and another song on the album, “Let the Good Times Roll,” won for Best R&B Performance, giving Charles a total of four Grammys in 1960.

Five different versions of this song have made the US Hot 100. Here the four that came after Charles’ recording:

Righteous Brothers (#62, 1966)
Georgia Pines Candymen (#81, 1967)
Wes Montgomery (#91, 1968)
Willie Nelson (#84, 1978)
Michael Bolton (#36, 1990)

This was the first of three #1 singles on the US Hot 100 for Ray Charles. “Hit the Road, Jack” and “I Can’t Stop Loving You” are his others.

The song “Georgia on My Mind,” with lyrics by Mr. Stuart Gorrell and music by Mr. Hoagy Carmichael, has an enduring quality that has made it one of the best-loved songs in America for many years.

Although “Georgia on My Mind” describes a Georgian’s love for his state, its beautiful melody and lyrics have given the song a worldwide appeal.

“Georgia on My Mind” has been recorded by many outstanding artists, but the rendition by Mr. Ray Charles, a native Georgian, which was first recorded in 1958, has been greatly enjoyed by music lovers throughout the world.

It is appropriate that the official State song should be a beautiful song that has wide appeal throughout the country, and “Georgia on My Mind” is an outstanding example of these qualities.

Willie Nelson sang this at Charles’ funeral in 2004.

Charles won eight awards at the 2005 Grammy Awards, including Record of the Year and Album of the Year (for Genius Loves Company). He was honored throughout the show; Alicia Keys and Jamie Foxx performed this as part of the tribute. Foxx had recently portrayed Charles in the movie Ray.

Nelson’s version was recorded for his 1978 album, Stardust, a collection of pop standards. Rick Blackburn, an executive at CBS Records Nashville who went on to become president of Atlantic Records, thought Nelson was nuts for taking on the project, thinking it would alienate his growing fanbase. Blackburn recalled Nelson’s response in the 1988 biography Willie: “Willie said, ‘Great songs are great songs no matter when they’re written. The other thing is, my audience right now is young, college age, and mid-twenties. They’ll think these are new songs, and at the same time we’ll get the sentiment of the older audience who grew up with these songs but don’t necessarily know the artist. We will bridge that gap.”

Nelson was right. The album went to #1 on the country albums chart and stayed on the chart for ten years. His rendition of “Georgia On My Mind” was also a #1 hit on the country singles chart and earned him the Grammy Award for Best Male Country Vocal Performance in 1979.

Georgia On My Mind

Georgia, Georgia
The whole day through
Just an old sweet song
Keeps Georgia on my mind (Georgia on my mind)

I said Georgia
Georgia
A song of you
Comes as sweet and clear
As moonlight through the pines

Other arms reach out to me
Other eyes smile tenderly
Still in peaceful dreams I see
The road leads back to you

I said Georgia
Ooh Georgia, no peace I find
Just an old sweet song
Keeps Georgia on my mind (Georgia on my mind)

Other arms reach out to me
Other eyes smile tenderly
Still in peaceful dreams I see
The road leads back to you

Whoa, Georgia
Georgia
No peace, no peace I find
Just this old, sweet song
Keeps Georgia on my mind

I said just an old sweet song
Keeps Georgia on my mind

Petticoat Junction

I would watch Petticoat Junction at my grandmother’s and loved seeing Kate Bradley’s three daughters Billie Jo, Bobbie Jo, and Betty Jo…

The show was created by Paul Henning who also created The Beverly Hillbillies and Green Acres. All three shows were in the same universe so to speak. They all crossed over into each other’s shows. Petticoat Junction took place in Hooterville, the same location as Green Acres. The show ran 7 seasons from 1963 to 1970.

The series takes place at the Shady Rest Hotel, which is run by Kate Bradley (Bea Benaderet) and the three daughters. The Hotel is usually empty and barely staying open. The only way to the Hotel is the train called the Cannonball ran by engineer Charley Pratt (Smiley Burnette) and fireman/railway conductor Floyd Smoot (Rufe Davis). Uncle Joe played by the great character actor Edgar Buchanan was more a hindrance than a help. Joe would come up with get rich quick schemes that would cost the Kate money and time.

They did have a dog…name “The Dog” played by Higgins…better known as the original Benji. Sam Drucker played by Frank Cady was a cast member in this show and in Green Acres. Out of the three shows, this one was probably the weakest but I still enjoyed it…and I still watch it.

The show lasted 7 seasons. Bea Benaderet died of lung cancer on October 13, 1968, during the 6th season. Her position in the show…but, not her character was replaced by June Lockhart as the matriarch of the Hotel. She played Dr. Janet Craig, a medical professional who rents a room at the Shady Rest Hotel…and gives the three sisters advice.

The ever-changing sisters…

The first two seasons the sisters were played by – Billy Jo – Jeannine Riley, Bobbie Jo – Pat Woodell, and Betty Jo – Linda Kaye Henning

Image result for petticoat junction second season changing

In the third season, Jeannine Riley and Pat Woodell left the show. They were replaced with Gunilla Hutton and Lori Saunders (my favorite)… and of course, Higgins played “The Dog”

Image result for petticoat junction third season

In the 4th season, Gunilla Hutton left the show and was replaced with Meredith MacRae. This would remain the lineup until the end.

Image result for petticoat junction 4th season

Petticoat Junction was a good family show with laughs. Who wouldn’t want to stay at the Shady Rest Hotel and travel to Hooterville and Pixley on the Cannonball? Seeing Betty Jo, Billy Jo, and Bobbie Jo would not be a chore either.

 

 

Beatles – Revolution 9

My son walked into his first college Music Appreciation class in August. The Professor was waiting for everyone and played this piece by The Beatles. He turned around and asked the class…Is this considered music or not?

Bailey wasn’t the only one who knew this strange piece and in the end…the Professor said yes it was music…like art, music can come in different forms.

I went to youtube to see some of the comments…I’m going to list a few.

“This is what it feels like to have anxiety.”
“I use this song to test my sanity”
“Terrifying for sure, but it’s kind of beautiful in an abstract way”
“I listened to She Loves You right before this. I can’t believe it’s the same band”
“Still better than Justin Bieber” 

And last but not least: “Listened to this blind drunk and by the end, I swear I saw John wearing Ringo’s skin as an overcoat”

I remember listening to this at 2 in the morning alone in the dark in around 1981…scared me to death. The memory has stayed with me to this day. I have grown to appreciate this sound collage. They were trying something new…and it is interesting.

John Lennon wrote this with contributions from Yoko and George Harrison. It’s a highly experimental piece, which Lennon once called “The music of the future.” It is the most controversial and bizarre track on the album.

John Lennon: “an unconscious picture of what I actually think will happen when it happens; that was just like a drawing of revolution.” “All the thing was made with loops, I had about thirty loops going, fed them onto one basic track. I was getting classical tapes, going upstairs and chopping them up, making it backward and things like that, to get the sound effects. One thing was an engineer’s testing tape and it would come on with a voice saying ‘This is EMI Test Series #9.’ I just cut up whatever he said and I’d number nine it. Nine turned out to be my birthday and my lucky number and everything. I didn’t realize it; it was just so funny the voice saying ‘Number nine’; it was like a joke, bringing number nine into it all the time, that’s all it was.”

From Songfacts

This was made by layering tape loops over the basic rhythm of “Revolution.” Lennon was trying to create an atmosphere of a revolution in progress. The tape loops came from EMI archives, and the “Number 9” voice heard over and over is an engineer testing equipment.

Paul McCartney and Beatles producer George Martin hated this and tried to keep it off the album.

This is the longest Beatles song – it runs 8:15. It also took longer to complete than any other track on album.

This helped fuel the “Paul is dead” rumors. If played backwards, you were supposed to hear the car crash where Paul died, and a voice saying “Turn me on, dead man.” Also, playing the line, “I’m not in the mood for wearing clothing” in reverse eventually becomes a rather odd but clear reversal, “There were two, there are none now.”

This is referencing the rumor that Paul McCartney died in a car with “Lovely Rita” and that the two were burned away after the wreck.

The rumor took off in October 1969 when a listener called the radio station WKNR in Detroit and told the DJ Russ Gibb about the backward message. When Gibb played it backwards on his show, listeners went wild and spent the next week calling in and offering their own rumors. The story quickly spread, and McCartney helped it along by laying low and letting it play out.

Lennon felt the number 9 was quite significant. He was happy that, after he changed his name to John Ono Lennon, his and Yoko’s names collectively contained 9 O’s. >>

According to the book The Beatles, Lennon And Me, by John Lennon’s childhood friend Pete Shotton, One evening, Lennon was with Shotton in the attic of his Kenwood home, tripping on LSD and smoking a few joints. They messed about with John’s Brunnel recorders, fiddling with feedback, running recordings backwards and creating tape loops. Opening the windows for some fresh air, John and Pete began to shout whatever was on their minds at the trees outside, the recorder running. This night’s lark was to later captured on “Revolution 9.” >>

Marilyn Manson released their own version of this on the B-side of the single for “Get Your Gunn.” It was called “Revelation 9” and ran 12:57. >>

This was parodied on an episode of The Simpsons. When the guys for a group called The B-Sharps, Barney meets a girl during recording. He exclaims at the studio that he’s making the music of all time. The song is Barney’s girl friend (with striking resemblance to Yoko Ono) saying “Number 8” and Barney burping. >>

Charles Manson thought that when they screamed the words “Right!” it was actually “Rise!” meaning the black community rising over the white people. Charles Manson was of course crazy, and thought The Beatles were warning about a race war.

Revolution 9

lyrics?… Oh, yea…Number 9, Number 9…then the madness starts.

Scooby Doo Where Are You!

On Saturday morning, September 13, 1969, Scooby-Doo, Where Are You! premiered. This is probably one of the most popular cartoons ever that even spawned a few live-action movies and tons of merchandise. The show went through many stages before it was ready for the public.

In 1968 Fred Silverman envisioned the show as a cross between the popular I Love a Mystery radio serials of the 1940s and the popular early 1960s TV show The Many Loves of Dobie Gillis.

Joe Ruby and Ken Spears, and artist/character designer Iwao Takamoto worked on Silverman’s idea. Their original concept of the show had the title Mysteries Five, and featured five teens (Geoff, Mike, Kelly, Linda, and Linda’s brother “W.W.”) and their dog, Too Much, who were all in a band called “The Mysteries Five” (even the dog; he played the bongos). When “The Mysteries Five” weren’t performing at gigs, they were out solving spooky mysteries involving ghosts, zombies, and other supernatural creatures. Ruby and Spears then had to decide what to make their dog. The dog was going to be a sheepdog but that would conflict with the Archies (who had a sheepdog, Hot Dog, in their band) but then settled on a Great Dane.

The executives felt that the presentation artwork was too frightening for young viewers, and, thought the show would be the same, decided to pass on it.

Ruby and Spears reworked the show to make it more comedic and less frightening. They dropped the rock band element and began to focus more attention on Shaggy and Too Much. According to Ruby and Spears, Silverman was inspired by the ad-lib “doo-be-doo-be-doo” he heard at the end of Frank Sinatra’s interpretation of Bert Kaempfert’s song “Strangers in the Night” on the way out to one of their meetings, and decided to rename the dog “Scooby-Doo” and re-rechristened the show Scooby-Doo, Where are You?… The rest as they say…is history!

Matthew Sweet did a version of the theme that I really like

 

The original theme song

 

 

http://scoobyaddicts.com/History.aspx

Band – Up On Cripple Creek

What a great single this was… Up On Cripple Creek with the B side of The Night They Drove Old Dixie Down. Robbie Robertson wrote this song and it appeared on The Band’s sophomore self-titled album.

This song was their highest-charting Billboard song and it peaked at #25 in 1970.

The Band rented Sammy Davis’s house turning the pool house into a recording studio, nailing baffles all along the outside wall and getting a great sound inside. The album was recorded there except “Up On Cripple Creek”, “Jemima Surrender” and “Whispering Pines” which was recorded at the Hit Factory studio in New York City.

The unusual sound that sounds like a jaw harp was achieved by Hudson with a wah-wah pedal on his clavinet.

The song has a great Americana sound to it. Hard to believe this band was all Canadian except for the southern Levon Helm.

From Songfacts

Guitarist Robbie Robertson wrote this song, which tells a disjointed story about a mountain man and a girl named Bessie. We hear about a trip to the horse races, listening to Spike Jones, and how what really makes him happy is when she “dips her doughnut in my tea.”

Like many songs by The Band, it’s wide open for interpretation. Robertson claims he doesn’t even know what’s going on. “I don’t really write songs with anything other than just a storytelling sense,” he said when asked about the song in Goldmine (August, 1998). “You sit down and write the song, and usually when something happens, you just don’t even know where it came from, or why it came, or anything like that. That’s the best. You know, when something comes out of you that surprises you. And it was one of those. You know, I was just sitting down to see if I could think of anything, and that’s what came out. But it was a fun song to write.”

Drummer Levon Helm sang lead on this track, giving it a very folksy vibe.

The guy in this song is one of the many curious characters Robbie Robertson has conceived. “We’re not dealing with people at the top of the ladder,” he said. “We’re saying what about that house out there in the middle of that field? What does this guy think, with that one light on upstairs, and that truck parked out there? That’s who I’m curious about.”

Robertson is listed as the only songwriter on this track, which is something his bandmates disputed, as they claimed they helped write it. Songwriting credits going to Robertson was a great source of friction in The Band.

That funky sound on “Up On Cripple Creek” was created by keyboardist Garth Hudson, who played a Hohner Clavinet D6 through a Vox Wah Wah pedal.

In The Band’s 2000 Greatest Hits compilation, Levon Helm said, “It took a long time to seep into us. We cut it two or three times, but nobody really liked it. It wasn’t quite enough fun. Finally one night we just got hold of it, doubled up a couple of chorus and harmony parts, and that was it.”

There are Cripple Creeks throughout the United States and Canada, including one in an old mining town in Colorado and another near Hamilton, Ontario. The title may have come from one of these places, but the song doesn’t appear to be set in one specific Cripple Creek.

The B-side of the single was “The Night They Drove Old Dixie Down,” which became a hit for Joan Baez in 1971.

The Band performed this on The Ed Sullivan Show in 1969. It was their only appearance on the show.

The rap duo Gang Starr sampled this on their 1990 track “Beyond Comprehension.”

Up On Cripple Creek

When I get off of this mountain
You know where I want to go
Straight down the Mississippi River
To the Gulf of Mexico

To Lake George, Louisiana
Little Bessie, girl that I once knew
And she told me just to come on by
If there’s anything she could do

Up on Cripple Creek she sends me
If I spring a leak she mends me
I don’t have to speak she defends me
A drunkard’s dream if I ever did see one

Good luck had just stung me
To the race track I did go
She bet on one horse to win
And I bet on another to show

Odds were in my favor
I had him five to one
When that nag came around the track
Sure enough we had won

Up on Cripple Creek she sends me
If I spring a leak she mends me
I don’t have to speak she defends me
A drunkard’s dream if I ever did see one

I took up all of my winnings
And I gave my little Bessie half
And she tore it up and blew it in my face
Just for a laugh

Now there’s one thing in the whole wide world
I sure would like to see
That’s when that little love of mine
Dips her doughnut in my tea

Up on Cripple Creek she sends me
If I spring a leak she mends me
I don’t have to speak she defends me
A drunkard’s dream if I ever did see one

Now me and my mate were back at the shack
We had Spike Jones on the box
She said, “I can’t take the way he sings
But I love to hear him talk”

Now that just gave my heart a fall
To the bottom of my feet
And I swore and I took another pull
My Bessie can’t be beat

Up on Cripple Creek she sends me
If I spring a leak she mends me
I don’t have to speak she defends me
A drunkard’s dream if I ever did see one

As a flood out in California
And up north it’s freezing cold
And this living off the road
Is getting pretty old

So I guess I’ll call up my big mama
Tell her I’ll be rolling in
But you know, deep down, I’m kinda tempted
To go and see my sweet Bessie again

Up on Cripple Creek she sends me
If I spring a leak she mends me
I don’t have to speak she defends me
A drunkard’s dream if I ever did see one

The Who – I Can See For Miles

The sound of this song is amazing…from the drums to the guitar. It was very different than their other singles to this point.

It’s hard to believe that I Can See For Miles was The Who’s only top 10 hit in the Billboard 100. It peaked at #9 in the Billboard 100 and #10 in the UK in 1967. The song was recorded for the band’s 1967 album, The Who Sell Out.[3] It was the only song from the album to be released as a single. The album peaked at #48 in the Billboard Album Charts in 1968.

Pete Townshend considered this some of his best songwriting, calling it “a remarkable song.” He thought it would be a huge hit and was disappointed when it wasn’t.

Pete Townshend talking about this song: “I swoon when I hear the sound,” “The words, which aging senators have called ‘drug oriented,’ are about a jealous man with exceptionally good eyesight. Honest.”

The song is ranked #40 on Dave Marsh’s The 1001 Greatest Singles Ever Made

 

From Songfacts

Pete Townshend wrote this shortly after meeting his future wife Karen. It was a reminder that even though he was on the road, he could still keep an eye on her from miles away.

The song was inspired by the jealousy and suspicion that would well up inside him when he left to tour, but the song is written in character as a vindictive type who wants to get back at a girl. It’s a little creepy:

Well, here’s a poke at you
You’re gonna choke on it too
You’re gonna lose that smile
Because all the while
I can see for miles and miles

He’s warning her that she can’t get out of his sight.

In real life, Townshend married Karen Astley in 1968. They were together until their divorce in 2009.

Townshend’s guitar was overdubbed in the studio. They rarely played this live because it was impossible to recreate the sound with one guitar.

The Who Sell Out is a concept album that makes fun of radio commercials. Fake ads were inserted between songs on the first side of the album.

The word “Miles” is said 57 times in the song. 

This was covered in a lighter, easygoing, and rather corny manner by Vegas lounge lizard Frankie Randall (who sang the lyric “There’s magic in my eyes” as “There’s magic in your eyes”, thus rather confusing the song’s meaning). It is included on the Golden Throats CD. 

Townshend’s played a one-note guitar solo on this song. According to an interview he conducted with his mate Richard Barnes for the book The Story of Tommy, Townshend did this because he “couldn’t be bothered.” He later admitted that he felt very intimidated at the arrival of Hendrix on the London scene during that time and that he couldn’t ever compete in the guitar solo stakes. 

Paul McCartney set out to write “Helter Skelter” shortly after reading a Pete Townshend interview, which described this track as, “The most raucous rock ‘n’ roll, the dirtiest thing they’d ever done.”

This is the theme song for the TV series CSI: Cyber, which debuted in 2015. It’s the fourth in the CSI franchise, with each series using a Who song as its theme. The song has some relevance to the show content, as the detectives use technology to investigate crimes that could be many miles away.

I Can See For Miles

I know you’ve deceived me, now here’s a surprise
I know that you have ’cause there’s magic in my eyes

I can see for miles and miles and miles and miles and miles
Oh yeah

If you think that I don’t know about the little tricks you’ve played
And never see you when deliberately you put things in my way

Well, here’s a poke at you
You’re gonna choke on it too
You’re gonna lose that smile
Because all the while

I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah

You took advantage of my trust in you when I was so far away
I saw you holding lots of other guys and now you’ve got the nerve to say

That you still want me
Well, that’s as may be
But you gotta stand trial
Because all the while

I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
Oh yeah

I know you’ve deceived me, now here’s a surprise
I know that you have ’cause there’s magic in my eyes

I can see for miles and miles and miles and miles and miles
Oh yeah

The Eiffel Tower and the Taj Mahal are mine to see on clear days
You thought that I would need a crystal ball to see right through the haze

Well, here’s a poke at you
You’re gonna choke on it too
You’re gonna lose that smile
Because all the while

I can see for miles and miles
I can see for miles and miles
I can see for miles and miles and miles and miles and miles
And miles and miles and miles

I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles
I can see for miles and miles

Elvis Presley – Little Sister

This song sounds so good. The mix is great with the bass coming through. Little Sister  was written by the Brill Building songwriters Doc Pomus and Mort Shuman. They also wrote the 1959 hit A Teenager In Love.

The song peaked at #5 in the Billboard 100 and #1 in the UK in 1961. Elvis recorded it at the RCA Nashville, Tennessee, studio in 1961. On the recording besides Elvis, was Scotty Moore (acoustic guitar), Hank Garland (electric guitar), Bob Moore (bass), D.J. Fontana and Buddy Harmon (drums), Floyd Cramer (organ), and The Jordanaires (backing vocals).

Dwight Yokum also does a great cover of this song.

 

Little Sister

Little sister, don’t you
Little sister, don’t you
Little sister, don’t you
Kiss me once or twice
Then say it’s very nice
And then you run
Little sister, don’t you
Do what your big sister done

Well, I dated your big sister
And took her to a show
I went for some candy
Along came Jim Dandy
And they snuck right out of the door

Little sister, don’t you
Little sister, don’t you
Little sister, don’t you
Kiss me once or twice
Then say it’s very nice
And then you run
Little sister, don’t you
Do what your big sister done

Every time I see your sister
Well, she’s got somebody new
She’s mean and she’s evil
Like that old Boll Weevil
Guess I’ll try my luck with you

Little sister, don’t you
Little sister, don’t you
Little sister, don’t you
Kiss me once or twice
Then say it’s very nice
And then you run
Little sister, don’t you
Do what your big sister done

Well, I used to pull your pigtails
And pinch your turned-up nose
But you been a growin’
And, baby, it’s been showin’
From your head down to your toes

Little sister, don’t you
Little sister, don’t you
Little sister, don’t you
Kiss me once or twice
Then say it’s very nice
And then you run
Little sister, don’t you
Do what your big sister done
Little sister, don’t you
Do what your big sister done