Category: 1970s

Ian Dury with the Blockheads – What A Waste

There are some artists you don’t discover until years later, and then you wonder how they managed to stay off your radar for so long. That was Ian Dury for me. While he was a major figure in Britain during the late 1970s, his music never received much attention here in the States. Once I started listening, though, I realized I’d been missing out on one of the most original voices of the era. This is one of those songs that hooked me right away, especially because of that irresistible groove.

It was released in 1978 as Ian Dury’s second solo single, and it featured The Blockheads, one of the tightest backing bands of the time. The song was written by Dury and Chaz Jankel, whose guitar and keyboard work helped shape the band’s sound. It was produced by Laurie Latham and appeared on the American version of the album New Boots and Panties!!, although it had originally been released as a stand-alone single in the UK. By this point, Dury had already built a reputation for mixing pub rock, funk, new wave, and rhythm and blues into something entirely his own.

It is built around one of the best bass lines you’ll ever hear. Norman Watt-Roy’s bass drives the entire song, locking in with the drums to create a groove that’s impossible to ignore. Over the top, Ian Dury delivers a half-sung, half-spoken vocal, rattling off humorous observations about all the things he could have become. His lyrics are clever and self-deprecating. It doesn’t fit neatly into rock, punk, or new wave, and that’s exactly what makes it so much fun.

The song peaked at #9 in the UK in 1978, but it wasn’t a huge hit outside the UK; it has become one of Ian Dury’s signature songs and a favorite among fans. Looking back, it’s easy to hear why so many musicians admired The Blockheads. They were an incredibly talented band capable of blending funk, rock, jazz, and soul into a sound that was unlike anyone else at the time.

I love songs that have a great groove, and this one has it from the first note. Norman Watt-Roy’s bass line is perfect, and it’s the first thing I notice every time I hear it. The whole band is outstanding, but that rhythm section keeps everything moving while Ian Dury does what Ian Dury did better than anyone else. His songs never sounded like anyone else’s. They’re funny, quirky, and full of personality. I wish I’d discovered him years earlier, but better late than never. If you’ve never gone beyond Hit Me With Your Rhythm Stick, give What A Waste a listen. I have a feeling you’ll end up exploring a lot more of Ian Dury and The Blockheads, just like I did.

What A Waste

I could be the driver in articulated lorry
I could be a poet, I wouldn’t need to worry
I could be the teacher in a classroom full of scholars
I could be the sergeant in a squadron full of wallahs

What a waste!
What a waste!
What a waste!
What a waste!

Because I chose to play the fool in a six-piece band
First-night nerves every one-night stand
I should be glad to be so inclined
What a waste! What a waste!
Rock’n’roll don’t mind

I could be a lawyer with stratagems and ruses
I could be a doctor with poultices and bruises
I could be a writer with a growing reputation
I could be the ticket-man at Fulham Broadway station

What a waste!
What a waste!
What a waste!
What a waste!

Because I chose to play the fool in a six-piece band
First-night nerves every one-night stand
I should be glad to be so inclined
What a waste! What a waste!
Rock’n’roll don’t mind

I could be the catalyst that sparks the revolution
I could be an inmate in a long-term institution
I could lead to wild extremes, I could do or die
I could yawn and be withdrawn and watch them gallop by

What a waste!
What a waste!
What a waste!
What a waste!

Because I chose to play the fool in a six-piece band
First-night nerves every one-night stand
I should be glad to be so inclined
What a waste! What a waste!
Rock’n’roll don’t mind

Chose to play the fool in a six-piece band
First-night nerves every one-night stand
I should be glad to be so inclined
What a waste! What a waste!
Rock’n’roll don’t mind
What a waste! What a waste!
Rock’n’roll don’t mind

Asleep At The Wheel – Miles and Miles of Texas & Way Down Texas Way

Here is a two-for-one day! Asleep at the Wheel is one of those bands I always knew of, but never really took the time to explore. I’m glad I finally did. They were led by Ray Benson; the group became one of the biggest champions of Western Swing at a time when country music was moving in different directions. Instead of the normal Nashville sound, they looked back to the music of Bob Wills and the Texas Playboys and proved there was still plenty of life left in those songs and that style. Benson once said that Ray Charles’ Modern Sounds in Country and Western Music “opened more musical windows for more people than any other record before or since.” That appreciation for musical freedom runs through Asleep at the Wheel’s career.

I like discovering where musical roads meet. Bob Wills inspired Ray Benson. Ray Benson helped keep Western Swing alive for another generation. Along the way, you can hear connections to artists like Dan Hicks and His Hot Licks, and voices like Maryann Price helped shape the band’s sound. If you’ve never explored Asleep at the Wheel beyond hearing the name, these two songs are a great place to begin. They don’t just celebrate Texas music. They celebrate a style that still swings as naturally today as it did more than seventy years ago.

They were formed in 1970 in West Virginia before finding their true home in Austin, Texas. Austin was becoming a gathering place for musicians who didn’t worry much about labels. Country, rock, jazz, blues, and swing all mixed together there. Along the way, Asleep at the Wheel crossed paths with artists like Dan Hicks and His Hot Licks, who blended swing, jazz, and humor into their own unique sound. Both acts drew from many of the same musical roots while creating something that felt fresh. Another important voice was Maryann Price, whose vocals became one of the band’s trademarks during some of its best-known years and helped bring even more authenticity to their Western Swing revival.

“Miles and Miles of Texas” may be the band’s signature song. Released in 1976 on Wheelin’ and Dealin’, it captures everything that makes Asleep at the Wheel so enjoyable. The fiddle, steel guitar and swinging rhythm feel like they belong in another era, yet the recording never sounds dated. It’s upbeat, fun and impossible not to smile through. More than anything, it helped introduce a new generation of listeners to Western Swing and reminded people why Bob Wills’ influence still mattered decades later. It peaked at #38 in the Billboard Country Charts in 1976.

“Way Down Texas Way” reaches even further back. Originally recorded by Bob Wills and the Texas Playboys in the 1940s, the song is pure Western Swing with its danceable rhythm and country-jazz feel. Asleep at the Wheel doesn’t simply copy the original. They play it with genuine respect while making it sound like it belongs right alongside their own material. That’s one of the band’s greatest strengths. They kept it alive by playing it with energy and heart. This song peaked at #39 on the Billboard Country Charts in 1987.

Way Down Texas Way

Adios, goodbye amigos I am leaving you today
Ain’t nobody round this town that’s gonna miss me anyway
This old money making’s taking all the time I have to play
Mama, hush your mouth, I’m headed south, way down Texas way

Way down Texas way they play good music every night
And the dance hall rings with laughter ’til the early morning light
When them cowboys get through picking
There’s not much that’s left to say
But you can really have a good time honey, way down Texas way

Aw, Texas fiddle

The road of life is paved with good intentions I am told
So I best be on my way now or I may not ever go
Ain’t no need to be a-begging me to stay just one more day
This old wild goose is cutting loose way down Texas way

Way down Texas way they play fiddle music every night
And the dance hall rings with laughter ’til the early morning light
When them cowboys get through picking
There’s not much that’s left to say
But you can really have a good time sugar, way down Texas way
Way down Texas way

Buzzcocks – I Don’t Mind

I’ve always thought the Buzzcocks sat right in that sweet spot between punk and power pop. They had the speed and attitude of punk, but Pete Shelley could write a great pop melody. That’s what keeps me coming back to their music. This is one of those songs that grabs you immediately and never lets go. It’s proof that you don’t have to choose between raw energy and a great pop hook. Sometimes you can have both, and the Buzzcocks did it as well as just about anyone.

They chose the name Buzzcocks after reading the headline, “It’s the Buzz, Cock!”, in a review of the TV series Rock Follies in Time Out magazine. The “buzz” is the excitement of playing on stage; “cock” is northern English slang meaning friend. They were formed in 1976 by Pete Shelley and Howard Devoto after seeing the Sex Pistols. They were able to blend punk’s spirit and sound with pop.

When people talk about the first wave of British punk, names like the Sex Pistols and The Clash usually come up first. But the Buzzcocks carved out a sound all their own. They had the energy and urgency of punk, but they also wrote songs packed with unforgettable melodies and pop sensibilities. That combination would later influence countless pop-punk and power pop bands.

The album Another Music in a Different Kitchen was released in 1978. This song was written by guitarist Pete Shelley and produced by Martin Rushent. Shelley handled most of the songwriting, while Steve Diggle’s driving guitar and John Maher’s energetic drumming gave the band its sound. Unlike many of their punk contemporaries, the Buzzcocks weren’t afraid to write songs about relationships, uncertainty, and everyday emotions rather than politics or rebellion.

Although it wasn’t one of the band’s biggest chart hits, it has become a favorite among fans and remains a highlight of Another Music in a Different Kitchen. Looking back, it’s easy to hear why the Buzzcocks continue to be so influential. They proved that punk could have great melodies, smart lyrics, and hooks every bit as memorable as traditional pop music. Their influence can still be heard in bands decades later.

The song peaked at #55 in the UK in 1978. The album Another Music in a Different Kitchen peaked at #15 on the UK Album Charts.

I Don’t Mind

Reality’s a dream
A game in which I seem
To never find out just what I am
I don’t know if I’m an actor or ham
A shamen or sham
But if you don’t mind
I don’t mind

I’m lost without a clue
So how can I undo
The tangle of these webs I keep weaving
I don’t know if I should be believing
Deceptive perceiving
But if you don’t mind
I don’t mind

I used to bet that you didn’t care
But gambling never got me anywhere
Each time I used to feel so sure
Something about you made me doubt you more

How can you convince me
When everything I see
Just makes me feel you’re putting me down
And if it’s true this pathetic clown’ll
Keep hanging around
That’s if you don’t mind
I don’t mind

I used to bet that you didn’t care
But gambling never got me anywhere
Each time I used to be so sure
Something about you made me doubt you more

I even think you hate me when you call me on the phone
And sometimes when we go out I wish I’d stayed at home
And when I’m dreaming or just lying in my bed
I think you’ve got it in for me
Is it all in my head is it in my head

How can you convince me
When everything I see
Just makes me feel you’re putting me down
And if it’s true this pathetic clown’ll
Keep hanging around
That’s if you don’t mind
I don’t mind
I don’t mind

Pretenders – Brass In Pocket

Sometimes a band’s biggest hit isn’t the song that best represents them, and I think that’s true here. If you explore The Pretenders’ catalog, you’ll find songs with more bite and emotion. But this one was the perfect introduction. It made me want to hear more, and that’s exactly what a great first hit should do. Even if Chrissie Hynde has had mixed feelings about it, I’m glad she still plays it. Some songs become bigger than the artist’s opinion of them, and this is definitely one of those.

When The Pretenders released their debut album in 1980, few people knew what to expect. Led by Chrissie Hynde, the band mixed rock, punk, pop, and new wave into a sound that was all their own. While the album was packed with strong songs, it was this song that introduced millions of listeners to the band and turned them into stars.

The song was written by Chrissie Hynde and guitarist James Honeyman-Scott during an early rehearsal. Musically, it has a relaxed groove with a touch of soul that was inspired by Stax and Motown records. Hynde later admitted she wasn’t crazy about the song and didn’t think it represented the band very well. She even resisted releasing it as a single. The record company disagreed, and history proved them right.

One of the things that has always made the song memorable is its unusual lyrics. The phrase “brass in pocket” is old British slang for having money in your pocket. Even though Hynde has said over the years that it isn’t one of her favorite songs, she also understands what it means to fans. It’s still a regular part of the Pretenders’ concerts because she knows audiences want to hear it.

This was the song that introduced me to The Pretenders. Looking back, it’s interesting because it doesn’t really sound like much of what came later. Their music would become tougher, sharper, and more guitar-driven.  But this song has a warmth and bounce that makes it stand on its own. It may not be their best song, but it is certainly one of their catchiest, and after all these years, it’s still the first one that comes to mind when I think about discovering the band.

The song peaked at #1 in the UK, #14 on the Billboard 100, #5 in Canada, and #25 in New Zealand in 1979.

Brass in Pocket

Got brass in pocket
Got bottle, I’m gonna use it
Intention, I feel inventive
Gonna make you, make you, make you notice

Got motion, restrained emotion
Been driving Detroit leaning
No reason, just seems so pleasing
Gonna make you, make you, make you notice

[Chorus:]
Gonna use my arms
Gonna use my legs
Gonna use my style
Gonna use my side step
Gonna use my fingers
Gonna use my, my, my imagination

‘Cause I gonna make you see
There’s nobody else here
No one like me
I’m special so special
I gotta have some of your attention give it to me

Got rhythm I can’t miss a beat
Got new skank it’s so reet
Got something I’m winking at you
Gonna make you, make you, make you notice

[Chorus]

‘Cause I gonna make you see
There’s nobody else here
No one like me
I’m special, so special
I gotta have some of your attention
Give it to me
‘Cause I gonna make you see
There’s nobody else here
No one like me
I’m special, so special
I gotta have some of your attention

Give it to me

Ducks Deluxe – Fireball

Every now and then, I stumble across a song that makes me wonder how I missed it for so many years. This awesome song by Ducks Deluxe was one of those. It has everything I like about pub rock. Enough energy to make it sound like the band is playing ten feet away. The first time I heard it, I knew it wouldn’t be the last.

Ducks Deluxe formed in England in the early 1970s and became one of the pioneers of the pub rock movement. While progressive rock bands were hot and glam rock was dominating the charts, Ducks Deluxe took a different path. They played straightforward rock and roll mixed with country, rhythm and blues, and a little rockabilly. The band never became a household name, but they helped build the foundation for a scene that would later produce artists like Nick Lowe, Dave Edmunds, Graham Parker, and many others. Several members even went on to successful careers after the group broke up, proving just how much talent was packed into one band. Some band members joined Graham Parker’s band, The Rumour.

This song captures everything that made Ducks Deluxe special. The rhythm never lets up, the guitars have plenty of bite, and the whole band sounds like they’re having a great time. There isn’t a lot of studio polish here, and that’s part of the charm. Pub rock was about songs and musicianship, not gimmicks. Listening to it now, it’s easy to imagine hearing it in a crowded London pub with people packed shoulder to shoulder, enjoying every minute of it. This song was released in 1974 on their self-titled debut album.

What I like most about this is its honesty. It doesn’t try to be bigger than it needs to be. It’s simply a great rock and roll song played with confidence and heart. That’s something I’ve been discovering more and more as I dig into the pub rock scene. They left behind some outstanding music. Ducks Deluxe is another reminder that sometimes the best songs are the ones you have to find for yourself.

Mickey Jupp – Switchboard Susan

Sometimes all it takes is a great song title to pull me in. Switchboard Susan was one of those. Before I heard a note, I wanted to know what it sounded like. Then the guitars kicked in, the rhythm started rolling, and I knew I’d found another hidden gem. It’s one of those songs that sounds like it should have been on the radio every day, yet somehow slipped through the cracks.

Mickey Jupp was born in England and began recording in the late 1960s with his band Legend before launching a solo career in the 1970s. He never became a household name, but among musicians, he earned enormous respect as a songwriter. His music blended rock and roll, rhythm and blues, country, and a little rockabilly, making him a perfect fit for the growing pub rock scene. Jupp stayed true to the music he loved. Artists like Nick Lowe, Dave Edmunds, and Rockpile were all fans of his writing, and several of his songs found a wider audience through their recordings.

It’s on his album Long Distance Romancer, released in 1979. It’s built around a simple idea, but that’s part of what makes it work so well. The guitars have that familiar style snap, and the melody sticks after just one listen. A year later, Nick records it for Labour of Lust, backed by Rockpile, Dave Edmunds, Billy Bremner, and Terry Williams. So although the album says Nick Lowe, you’re really hearing Rockpile playing behind him., but it all started with Mickey Jupp’s pen.

What I like most about this song is how natural it feels. Nothing is forced. It’s just a great rock and roll song played with confidence and heart. Mickey Jupp may not have had the fame of some of his friends, but songs like this remind me that influence isn’t always measured by chart positions. Sometimes it’s measured by how many great musicians keep coming back to your songs.

NIck Lowe: Mickey Jupp is touched with genius but he could be a difficult and contrary man. … I nearly had to throw myself across the tracks to stop the train and prevent Rockpile from leaving town. But “Switchboard Susan” had a cracking backing track, so I offered to buy it off Mickey, and he agreed. Then I stuck my vocal on it.

I want to thank Randy from mostlymusiccovers. I always email him about blues artists or Rockpile because their history is very confusing at times. He helped me out with this song.

Switchboard Susan

Switchboard Susan won’t give me a line
I need a doctor get me 999
The first time I picked up my telephone
I fell in love with your ringing tone

I’m a long distance romancer
And I keep on trying until I get an answer
Give me! give me! one more chance
You’re a great, little operator

Switchboard Susan let me off the hook
I’ve been this way since you just gave me a look
Switchboard Susan girl you’re all the rage
Come on woman now let’s get engaged

I’m a long distance romancer
And I keep on trying until I get an answer
Give me! give me! one more chance
You’re a great, little operator

Now when I look at you girl I get an extension
And I don’t mean on Alexander Graham Bell’s invention
Switchboard Susan can we be friends
After six and at weekends

I’m a long distance romancer
And I keep on trying until I get an answer
Give me! give me! one more chance
You’re a great, little operator

Ace – Sniffin’ About

Most people know Ace for How Long. It’s a great song and deserves its place on classic rock radio. But every now and then, I like to dig a little deeper, because sometimes you will find hidden treasures. This one was one of those discoveries for me. The first time I heard it, I couldn’t believe this was the same band. It has a tougher edge, a great groove, and more hooks than a pirate’s convention.

Ace formed in Sheffield, England, in the early 1970s and quickly became part of Britain’s growing pub rock scene. The band featured the soulful voice and keyboards of Paul Carrack, along with guitarist Alan “Bam” King, bassist Terry Comer, and drummer Fran Byrne. Unlike many of the louder bands of the day, Ace relied on tight musicianship and tasteful playing. They fit perfectly into the pub rock movement, where good songs mattered more than flashy stage shows.

This song appeared on the band’s debut album, Five-a-Side, released in 1974. This was the B side to How Long. While How Long became a worldwide hit, this track shows another side of Ace. The rhythm section stays locked in, and Paul Carrack delivers an effortless vocal like he always does. Like so many pub rock recordings, it’s straight ahead. It simply lets the band do what they did best: play together. That’s probably why it still sounds so fresh today.

This reminds me not to stop with the hit singles. So many great bands have albums full of songs that never made the radio but are every bit as rewarding. Ace is one of those bands. It’s another reminder that some of the best discoveries are hiding just below the surface. The album peaked at #11 on the Billboard Album Charts and #16 in Canada in 1974.

Sniffin’ About

Takin’ it easy, takin’ our time, sniffin’ about
We got a notion, time gonna tell and it’ll work out
It goes
There ain’t no sly seducer fooling me
And nothing you can do, Sir, oh no

I learned me a lesson when I was a boy
Just sniffin’ about
You get a connection, selected perfection
It’ll work out

It goes
There ain’t no sly seducer fooling me
Ain’t nothing you can do, Sir, anyway

Sniffin’ about
Checking it out
Sniffin’ about
Checking it out

Well, I learned me a lesson when I was a boy
Sniffin’ about
You get a connection, selected perfection
It’ll work out

It goes
There ain’t no sly seducer fooling me
Ain’t nothing you can do, Sir, anyway

Sniffin’ about
Checking it out
Sniffin’ about
Checking it out

Alright
Alright
(Sniffin’ about)
Alright, I
(Sniffin’ about)
Alright, I was sniffin’
Just sniffin’, sniffin’ about
Just sniffin’ about
I was just sniffin’, sniffin’ about
Checking it out
Sniffin’ about
Oh, I was sniffin’ about
I was checking, checking it out
Yeah, I was was sniffin’ about

Brinsley Schwarz – Surrender To The Rhythm

This is so extremely catchy, and that organ just makes it flow. Also, I don’t think I’ve ever seen Nick Lowe this young before in the video you will hopefully watch. You know… when I cover pub rock or the Paisley Underground scene, it doesn’t feel like I’m reviewing songs anymore. I feel like I’m mapping out musical neighborhoods because these musicians all knew each other and worked together.

Brinsley Schwarz never had a big hit, but they did influence artists like Elvis Costello and The Clash. They were known as a pub rock band and were active between 1969 and 1975. The band released 6 albums in that time. Their members included Nick Lowe, Bob Andrews, Brinsley Schwarz, and Billy Rankin…they were later augmented by Ian Gomm on guitar and vocals.

Some songs don’t need a big chorus or a fancy production to grab you. They just have a groove that feels right from the opening notes. That’s what this song has always been for me. It isn’t one of Brinsley Schwarz’s best-known songs, but it should be. Every time I hear it, I think of a band that simply loved playing together. Musicians locked into the same groove and having a great time.

Nick Lowe wrote this song, and the band recorded it for their 1972 album Nervous on the Road. The song rides on Lowe’s knack for writing melodies that sound familiar the very first time you hear them. The title says it all. Quit overthinking things and let the music take over! It became one of the band’s signature live songs and has appeared on several later compilations, proof that even the band knew they had something special with it.

They were formed in England after evolving from the late 1960s band Kippington Lodge. The group featured guitarist Brinsley Schwarz, but before long, another member began writing many of the band’s songs. That was Nick Lowe. Along with Bob Andrews, Billy Rankin, and later Ian Gomm, they became one of the leading bands in the growing pub rock movement. While progressive rock bands were adding longer solos and glam rock was becoming more theatrical, Brinsley Schwarz went the other direction. They looked back to American rock and roll, country, soul, and rhythm & blues.

It’s one of those records that reminds me why I enjoy digging a little deeper than the obvious songs. If you like Nick Lowe’s solo work or the music of Dave Edmunds, Rockpile, or Graham Parker, you can hear the roots of all of that right here. Sometimes the most influential bands aren’t the ones filling stadiums. They’re the ones quietly showing everyone else how it’s done.

Allmusic gave it 5 stars, and grumpy critic Robert Christgau gave it an A-.

Surrender to the Rhythm

Well they danced to every tune the band could play
At just about midnight when they decided to call it a day
Now there’s one thing that’s left here on their mind
Yeah, yeah, yeah
To get a little slice at any price, yeah
To store the shoes and rice
And surrender to the rhythm that is calling them home

Oh she was dumb, she was dirty
Yeah, but she was a princess
Custom made to fit right in to his arms
She could thrill him, she could chill him
Down to the bone
But he was in his teens, yeah
He had to spill the beans
Still looking for ways and means
To surrender to the rhythm that is calling him home

And who’s to say if it’s right or wrong
Not another singer in another song
I say we’re doing alright
Yeah we’re doing okay
Oh now guess what, guess what happened
Guess what happened then

She had to go, said she was meeting up with one of her friends
So there was nothing more or less than another mess of the blues
Now he had more to lose
Started putting in booze
Oh yeah, paying his dues
And surrendering to the rhythm that is calling him home

Surrender to the rhythm
Surrender to the rhythm
Surrender to the rhythm
Surrender, yeah, to the rhythm

Van Morrison – Almost Independence Day

Last year, one of my readers, MY, suggested this song, so this year I’m going to post it. This and the title track were the first songs to get my attention on this album. The drums and guitar really make this song so strong, along with Van’s voice, of course.

The intro to this song is worth the price of admission. Van Morrison and guitarist Ron Elliot trade guitar licks, and then Lee Charlton joins with some great jazz-influenced drumming. Van has said it was written in a stream of consciousness style. The recording was more of a jam than a thought-out, rehearsed process.

The song was on his 1972 album Saint Dominic’s Preview, and it closed the album in a way that only Van Morrison could do. It has that long, drifting feel that he was so good at during this period. You can feel the mood more than the story. This is the Van Morrison who could take a simple phrase and turn it into something epic. He can make any song feel spiritual.

When I got the album, I had a summer job in the middle of nowhere in a backwater town. I had to drive over an hour to get there, and Van kept me company singing about Safeway’s Supermarket, fireworks, and Redwood Trees. One listen to this album, and I’m young, carefree, and having a really good time living life. Music brings back memories, and this one makes me feel exactly like I felt then.

It’s easy to get lost in this song. I’ve always liked the Van Morrison songs that feel more like a place to visit than just a song. Almost Independence Day is one of those. It rolls and flows along at its own pace. Van has many songs that sound like memories, and this one sounds like a memory that is still happening.

The album peaked at #15 on the Billboard Album Charts and #14 in Canada in 1972.

Couldn’t find a live version but I did find this wonderful concert by Van.

Almost Independence Day

I can hear them calling way from Oregon
I can hear them calling way from Oregon
And it’s almost Independence Day

Me and my lady, we go steppin’ (we go steppin’)
We go steppin’ way out on China town
All to buy some Hong Kong silver
And the wadin’ rushing river (we go steppin’)
We go out on the, out on the town tonight

I can hear the fireworks
I can hear the fireworks
I can hear the fireworks
Up and down the, up and down the San Francisco bay
Up and down the, up and down the San Francisco bay
I can hear them echoing
I can hear, I can hear them echoing
Up and down the, up and down the San Francisco bay

I can see the boats in the harbor (way across the harbor)
Lights shining out (lights shining out)
And a cool, cool night
And a cool, cool night across the harbor
I can hear the fireworks
I can hear the people, people shouting out
I can hear the people shouting out (up and down the line)
And it’s almost Independence Day

I can see the lights way out in the harbor
And the cool, and the cool, and the cool night
And the cool, and the cool, and the cool night breeze
And I feel the cool night breeze
And I feel, feel, feel the cool night breeze
And the boats go by
And it’s almost Independence Day
And it’s almost, and it’s almost Independence Day

Way up and down the line
Way up and down the line…

Tom Waits – Ol’ 55

When most people think of Tom Waits (including me), they think of the gravelly voice and the experimental music he would make later in his career. I like that as well, but on his debut album, Closing Time, he sounded very different. He is such a great songwriter, and like the greats, he puts his soul into his performances. His voice in this is perfect to me.

This track caught my attention with its storytelling. The song was inspired by Waits’ driving home at dawn after spending the night with someone special. Rather than focusing on drama, he captured a simple moment that many people have experienced.

Musically, it’s built around a gentle piano and an arrangement that owes as much to folk and country music as it does to rock. Waits recorded the song during the sessions for Closing Time in Los Angeles. Producer Jerry Yester helped shape the album’s laid-back sound, allowing Waits’ songwriting to take center stage.

As most people who know me know, I’m not the biggest Eagles fan, to say the least, but I’m glad they covered this. Their version brought the song to a much wider audience and introduced many listeners to Waits’ songwriting. While Waits later joked about some of the band’s interpretations of his work, there is no question that their recording helped spread the song far beyond his usual fan base.

Today, it is a signature song from Tom Waits’ early years. It captures a side of him that is sometimes overlooked, the songwriter who could turn an ordinary drive home into something memorable. Long before he became one of music’s most unique voices, this song showed that he already knew how to tell a story and make listeners feel like they were right there beside him.

Ol’ 55

Well, my time went so quickly, I went lickety-splitly
Out to my ol’ fifty-five
As I pulled away slowly, feeling so holy
God knows I was feeling alive

Now the sun’s coming up
I’m riding with Lady Luck
Freeway cars and trucks
Stars beginning to fade
And I lead the parade
Just a-wishing I’d stayed a little longer
Oh Lord, let me tell you that the feeling getting stronger

And it’s six in the morning, gave me no warning
I had to be on my way
Well, there’s trucks all a-passing me and the lights all a-flashin’
I’m on my way home from your place

And now the sun’s coming up
I’m riding with Lady Luck
Freeway cars and trucks
Stars beginning to fade
And I lead the parade
Just a-wishing I’d stayed a little longer
Oh Lord, let me tell you the feeling getting stronger

And my time went so quickly, I went lickety-splitly
Out to my ol’ fifty-five
As I pulled away slowly, feeling so holy
God knows I was feeling alive

And now the sun’s coming up
I’m riding with Lady Luck
Freeway cars and trucks
Freeway cars and trucks
Freeway cars and trucks

Santana – Abraxas …album review

One thing I love about this album is that the percussion never feels like a decoration or forced. It drives the songs. Many rock bands added congas or timbales for color. Santana built the entire foundation of the music around them. That’s probably why those tracks still sound so powerful today. Carlos gets the notice, but Abraxas is really a statement in what a great band can do when every member is playing at their peak. I usually reserve saying that mostly for the Allman Brothers, Little Feat, and The Dead. I was just going to cover one song…but no…the album had me transfixed with its rhythms.

When Santana recorded Abraxas in 1970, they were no longer just another San Francisco band. Their performance at the Woodstock Festival the year before had turned them into stars almost overnight. Their debut album had already produced hits like Evil Ways, but on Abraxas, everything came together. The band was firing on all cylinders. Carlos Santana’s guitar was just scorching, and Gregg Rolie handled the vocals and keyboards, and the rhythm section was incredible. Rolie was always one of my favorite members, and I’m glad I got to see him live.

Santana was a music machine built around rhythm. Michael Shrieve’s drumming worked alongside the congas, timbales, and percussion of José “Chepito” Areas and Michael Carabello. The result was a sound that felt alive. Songs like Oye Como Va and Black Magic Woman seemed to move in several directions at once, yet never lost the groove. You can hear rock, jazz, blues, and Cuban influences all blending together. No one sounded like Santana in 1970, and nobody really has since.

Carlos Santana’s guitar playing deserves all the praise it gets, but what made this album special was that he wasn’t carrying the band alone. There wasn’t a weak link anywhere. That is one reason Abraxas still sounds great more than fifty years later. If you want to be transfixed, like I was, just put on the album with headphones and enjoy the rhythms that Santana brought.

The album produced classics like Black Magic Woman, Oye Como Va, and the beautiful instrumental Samba Pa Ti. I would also add Mother’s Daughter, its a song with an infectious groove written by Gregg Rolie. It became Santana’s first number-one album and remains one of the finest examples of Latin rock ever recorded. For me, Abraxas captures a band at the perfect moment. They had the hunger of a young group, the confidence that came from Woodstock, and enough talent to fill two bands. When I listen to Abraxas, I don’t just hear Carlos Santana, I hear a band at its peak.

The album peaked at #1 on the Billboard Album Charts, #3 in Canada, and #7 in the UK in 1970.

Roxy Music – Virginia Plain

This is one band, for one reason or another, that I’ve never posted. I tell people that their early music has some of the best bass sound of anyone. Ferry’s vocals in this song remind me a little of Lou Reed.

When I first saw the title Virginia Plain, I wasn’t exactly sure what to expect. That’s part of the charm of the song. It was released in 1972 as the debut single by Roxy Music; this song pretty much announced that this was not going to be just another rock band. It was glam, strange, catchy, and different.

Roxy Music was led by Bryan Ferry and featured a really good lineup that included Brian Eno. Ferry wrote this song and took the title from a painting he had created while attending art school. The song is interesting. The lyrics are full of images and characters that seem to come and go like scenes in a movie. I always heard it as a song that is more about creating a mood.

The recording was produced by Peter Sinfield; he was best known for his work with King Crimson. Musically, the song blended old rock and roll influences with futuristic sounds. It’s different thanks in part to Eno’s synthesizer and Ferry’s vocals. The result was something fresh and exciting. Although it was recorded after the band’s debut album had already been completed, the song was later added to subsequent editions because it quickly became one of their signature tracks.

This song was successful in the UK and helped establish Roxy Music as one of the most important bands of the glam rock era. Looking back, it still sounds unique. More than fifty years later, it remains a perfect introduction to a band that never seemed interested in following the rules. If you want to hear the moment Roxy Music arrived, this is a pretty good place to start.

The song peaked at #4 on the UK Charts and #6 in New Zealand. The album peaked at #10 in the UK in 1972. BTW… the model featured on the cover of Roxy Music’s album is Kari-Ann Muller. No, she, unlike their other models, didn’t date Bryan Ferry. She married Chris Jagger, Mick’s brother.

Virginia Plain

Make me a deal and make it straight
All signed and sealed, I’ll take it
To Robert E. Lee, I’ll show it
I hope and pray he don’t blow it ’cause

We’ve been around a long time
Just tryin’ to, tryin’ to but you
Make the big time

Take me on a roller coaster
Take me for an airplane ride
Take me for a six days wonder but
Don’t you, don’t you throw my pride aside besides

What’s real and make-believe?
Baby Jane’s in Acapulco
We are flyin’ down to Rio

Throw me a line, I’m sinking fast
Clutching at straws, can’t make it
Havana sound, we’re trying
A hard edge, the hipster jiving, oh
Last picture shows down the drive-in

You’re so sheer, you’re so chic
Teenage rebel of the week

Flavours of the mountain streamline
Midnight blue casino floors
Dance the cha-cha through ’til sunrise
Opens up exclusive doors, oh wow

Just like flamingos, look the same
So me and you, just we two
Got to search for something new

Far beyond the pale horizon
Some place near the desert strand
Where my Studebaker takes me
That’s where I’ll make my stand, but wait

Can’t you see that Holzer mane
What’s her name? Virginia Plain

Ricky Nelson

On Turn Table Talk, the topic was “It’s No Act!” . We all can think of musicians who’ve tried to make the leap to acting – David Bowie, Cher, Sting, among many others – but this month we’re looking at actors/actresses or other celebrities who’ve decided to try to launch a music career after being noted in other entertainment fields. I picked Ricky Nelson. Thanks Dave!

I think Ricky Nelson is one of the few examples of actors who went into music and were remembered as musicians. He was a good actor, but he will be remembered more as a musician.

I went through a Ricky Nelson phase when I graduated in 1985. I purchased a greatest-hits package and was learning more of his songs. I wanted to go see him perform that year, and I kept waiting for him to appear somewhere because I heard he was touring. This was before the internet, and you had to read the newspapers for announcements and listen to the radio. Musicians would play at places, and you would never know sometimes.

I never got a chance to see him because on December 31, 1985, his chartered jet crashed, killing him and six other passengers. Ricky was a rockabilly guy and a great one. He gets lost in the shuffle because he was a huge teenage actor at the time on his family’s show…The Adventures of Ozzie and Harriet. In the rock world, being a teen idol knocks you down the respect ladder.

Before Ricky Nelson became one of the biggest teen idols of the 1950s, he was already a television star. He was born in 1940 into a show business family. His parents, Ozzie Nelson and Harriet Nelson, starred in the popular radio and television series The Adventures of Ozzie and Harriet. Ricky appeared on the show as himself beginning in the early 1950s. Millions of viewers watched him grow up on screen each week. By the time he reached his teenage years, he was already one of the most recognizable young faces in America.

Music came almost by accident. Ricky wanted to impress a girl (she was a massive Elvis fan) and claimed he was a recording artist. To make the story true, he recorded Fats Domino’s I’m Walkin’ in 1957. The song became a hit. Soon he was recording regularly and turning out hits such as Poor Little Fool, Travelin’ Man, and Hello Mary Lou. Unlike many teen stars of the era, Nelson worked with strong musicians and was full tilt in rockabilly and early rock and roll.

As the 1960s arrived, Nelson continued acting while building a successful music career. He later dropped the “Ricky” and became known as Rick Nelson. His sound matured and moved toward country rock before the style became popular. While television gave him his start, music became his legacy. He is remembered as one of the few entertainers who successfully made the jump from television star to respected recording artist.

The sad part is that his music wasn’t taken as seriously later on because he was a teen idol. That started to change over time, and he was elected to the Hall of Fame in 1987. I always considered Rick Nelson a musician and a great rockabilly artist, along with country rock. I always considered him the real deal.

I’ve heard the phrase “The universal language is not music, nor love; it is loneliness,” and this song fits it perfectly.

Mick Taylor – Broken Hands

Mick Taylor was in the Stones during their most successful period. That wasn’t a coincidence. He was probably the most talented guitar player they ever had. That’s not a knock on Brian Jones or Ron Wood; he was just that good. I had no clue that he could sing as well, so this was a treat when someone sent me a link to this. You can hear his style and connect the dots to that sound. When he left the Stones, it was never replaced. Ronnie Wood plays in a different style altogether.

This song is one of the standout tracks from Mick Taylor’s self-titled debut solo album, released in 1979. The album arrived five years after Taylor left the Rolling Stones, where he had earned a reputation as one of the best guitarists in rock music. While the record never became a commercial success, it gave Taylor a chance to step out from the shadow of the Stones and show what he could do as a songwriter, singer, and bandleader. This song was tucked away near the end of side one and remains one of the album’s hidden gems.

The sessions for the album spanned several years, from 1976 to 1979. Recording took place at several studios in England, including Island Studios, Ramport Studios, Ridge Farm, and the Rolling Stones Mobile Studio. Taylor produced the album himself and played many of the instruments. On this song, he handled guitar, vocals, and bass guitar duties. The song has a loose rock feel with traces of blues and the melodic style that he did with the Stones.

Like much of the album, the song arrived at the wrong time commercially. By 1979, punk and new wave were dominating the music press while Taylor was delivering a blues-rock record. The album stalled on the charts, but over the years it has gained a loyal following among Rolling Stones fans and guitar enthusiasts. He was a complete musician who just happened to spend his most famous years standing next to some very large shadows that included John Mayall, Keith Richards, and Mick Jagger.

Broken Hands

Yeah, I got broken hands, God

Feel so loose and I feel so free
Running so fast that you can’t catch me
Play the night like a dream machine
Play my guitar ’cause I feel so mean

Drivin’ down the highway
Trying to get ahead
And I shake the blues away, yeah
Yeah, broken hands, I’m a broken man

Ah baby, where are we?
Howling winds on a heavy sea
Always think that you got it made
I can never see you behind your shades

Fools are around me, the devils inside
So much craziness to exercise
Let’s get small and get some lovin’ done
This life’s so hard, hit and run

There’s nothin’ happenin’ here, anyway
If we sit around much longer we’re gonna slide away
Mesmerizing, washed out eyes
Users and losers, hypnotized

I like music that sounds so sweet
I like to dance and move my feet
When I hear such a heavy sound
Come on baby, let’s get down

Drivin’ down the highway
I’m just trying to get ahead
And shake these blues away
There’s nothin’ happenin’ here, anyway

Yeah, broken hands, I’m down and out
Gimme a smile and I’ll pull ya out
Yeah, broken hands

Yeah, broken hands, I’m a broken man
Yeah, broken hands, I’m down and out
Gimme a smile and I’ll pull ya out