The bassline and minimalist nature to this song…makes it all worth the repeat listens. It’s very much a cultural artifact that encapsulates its time.
This is a song from childhood that I will never forget. It had a strange sound and that is what made it special. No other than Herbie Flowers played bass on this song and he made it stand out. Yes this song is worn out but I will turn it up sometimes just to hear that bass.
David wrote and released this song in 1973. It appeared in the movie he and Ringo Starr were appearing in called That’ll Be The Day. Essex made unsuccessful recordings in the sixties until found success as an actor. This was the first of his many hits in the UK.
On another note. That’ll Be The Day is a really good movie and so is the follow-up… Stardust. I would suggest if you get the chance…watch them. I think it’s the best movie Ringo Starr ever appeared in excluding A Hard Days Night.
The song peaked at #1 in Canada, #5 in the Billboard 100, and #3 in the UK in 1973. Essex never charted another hit in America, although the Grammy nomination he got for “Rock On” was enough to give him a cult following in America.
The producer of this song was a jingle composer named Jeff Wayne. Wayne was an unusual choice, but his background in jingles, which must be very efficient, proved worthy.
Jeff Wayne:“I can recall the three musicians on the backing track for ‘Rock On’ all looking around in a mostly empty Advision Studios, Studio 1, wanting to know when the rest of the band was arriving! I explained there weren’t any others for that track, and I was relying on them to understand my idea for the production. While the drums and percussion parts were written out, it was definitely Herbie that grasped immediately that a bass guitar playing a lead riff could fill a large part of the spatial spectrum and he took my idea and turned some basic notes of mine, into his amazing bass riff. Then to top it off, he suggested playing it again an octave higher. So you get this unusual bass sound right up front – now it couldn’t have been up front if the arrangement didn’t allow the air and the space to be created that way.”
Rock On
Hey kids rock and roll,
Rock on, oh my soul
Hey kids boogey too, did ya
Hey shout, summertime blues,
Jump up and down in my blue suede shoes
Hey kids rock and roll, rock on
And where do we go from here?
Which is the way that’s clear
Still looking for that blue jean, baby queen
Prettiest girl I’ve ever seen
See her shake on the movie screen, Jimmy Dean
James Dean, rock on
This song was on the forgotten Black and Blue album. My all-time favorite Stones song is on that album…Memory Motel.
This album was made when the best guitarist the Stones ever had…left them. That’s no knock on Keith, Brian, or soon-to-be Ronnie Wood at this time…Mick Taylor was just that good. He was on 4 of the 5 classic albums they are mostly known for. Another significant person left before Taylor did…Jimmy Miller produced the albums Beggars Banquet, Let It Bleed, Sticky Fingers, Exile On Main Street, and Goats Head Soup. He was the most important producer they worked with. He gave them a sound that they did not have before.
Ronnie Wood is not the guitar player in this song. They were auditioning guitar players on this album. The three guitar players were Wayne Perkins, Harvey Mandel, and Ronnie Wood. Wayne Perkins, a super-session player, was the lead guitar player on this song. He didn’t get the job because he was from Alabama. Keith said that was hard to get over because they wanted the Stones to remain an English band. Wayne Perkins was probably the best guitar player they auditioned…but Ronnie Wood looked the part and fit in.
The album was not as well received but still peaked at #1 on the Billboard Album Charts, #2 in Canada, #2 in the UK, and #4 in New Zealand in 1976.
Fool To Cry peaked at #10 on the Billboard 100, #11 in Canada, #6 in the UK, and #38 in New Zealand.
Mick Jagger has said of this song: This dates from the period when I had a young child, my daughter Jade, around a lot, calling me daddy and all that. It’s another of our heartmelting ballads, a bit long and waffly at the end maybe, but I like it.
Keith Richards: “I was just glad somebody in the band could sing that falsetto. I got a pretty good falsetto myself. But when you got a singer and he can hit those notes, baby go for it. And Mick was always fascinated with the falsetto Soul singers like Aaron Neville. That’s crafty stuff, you know what I mean? But he’d been listening to so many people. It’s kinda like what goes in, will come out. You’ll just hear a phrase or a piece of music. And one way or another it’s part of your experience. And a lot of the time it comes out what you do without even realizing it. I don’t really like to think about these things too much. It’s more to do with feeling than intellectualizing about it.”
Keith Richards: Ronnie wasn’t necessarily a shoo-in as our new guitarist, despite our closeness at the time. He was still, for one thing, a member of the Faces. We tried other players before him–Wayne Perkins, Harvey Mandel. Both great players, both of them are on Black and Blue. Ronnie turned up as the last one, and it was really a toss-up. We liked Perkins a lot. He was a lovely player, same style, which wouldn’t have ricocheted against what Mick Taylor was doing, very melodic, very well-played stuff. Then Ronnie said he had problems with the Faces. So it came down to Wayne and Ronnie. Ronnie’s an all-rounder. He can play loads of things and different styles, and I’d just been playing with him for some weeks, so the chips fell there. It wasn’t so much the playing, when it came down to it. It came down to the fact that Ronnie was English! Well, it is an English band, although you might not think that now. And we all felt we should retain the nationality of the band at the time. Because when you get on the road, and it’s “Have you heard this one?,” you’ve all got the same backgrounds. Because of being London-born, Ronnie and I already had a built-in closeness, a kind of code, and we could be cool together under stress, like two squaddies. Ronnie was damn good glue for the band. He was a breath of fresh air. We knew he’d got his chops, we knew he could play, but a big decider was his incredible enthusiasm and ability to get along with everybody. Mick Taylor was always a bit morose. You’ll not see Mick Taylor lying on the floor, holding his stomach, cracking up with laughter for anything. Whereas Ronnie would have his legs in the air.
Fool To Cry
When I come home baby
And I’ve been working all night long
I put my daughter on my knee, and she says
Daddy what’s wrong?
She whispers in my ear so sweet
You know what she says, she says
Ooh, daddy you’re a fool to cry
You’re a fool to cry
And it makes me wonder why
Daddy you’re a fool
You know, I got a woman (daddy you’re a fool)
And she lives in the poor part of town
And I go see her sometimes
And we make love, so fine
I put my head on her shoulder
She says, tell me all your troubles
You know what she says?
She says, ooh, daddy you’re a fool to cry
You’re a fool to cry
And it makes me wonder why
Daddy you’re a fool to cry
Yeah, she says
Oh, Daddy you’re a fool to cry
You’re a fool to cry
And it makes me wonder why
She says, ooh, daddy you’re a fool to cry
Ooh, daddy you’re a fool to cry
Ooh, daddy you’re a fool to cry
Ooh, daddy you’re a fool to cry
Even my friends say to me sometimes
And make out like I don’t understand them
You know what they say?
They say, ooh daddy you’re a fool to cry
You’re a fool to cry
And it makes me wonder why, ah
I’m a fool baby, ah ya
I’m a certified fool, ah yeah
Gotta tell ya, baby
I’m a fool baby, ah yeah
Whoo
Certified fool for ya, mama, ya, yeah, come on, yeah
I’m a fool, yeah
I thought it was time for another 1970s arena rock track. This one is more of a ballad which you didn’t get much from Foghat. This was one of their biggest singles.
David “Lonesome Dave” Peveret
Their lead singer during this time was David “Lonesome Dave” Peverett. Dave Peverett was a good singer, guitar player, and songwriter. Other Foghat alumni who made their mark elsewhere in music include replacement lead vocalist Charlie Huhn, who was also in Humble Pie and in Ted Nugent’s band before that. Also, Foghat guitarist Bryan Bassett is better known as the lead strings on “Play That Funky Music” by Wild Cherry.
I always liked their name…Foghat…it just sounds like a cool rock and roll name. Foghat was born out of the blues band Savoy Brown. Dave Peverett, the drummer Roger Earl, and the bassist Tony Stevens quit that band and decided to form their own band in 1970. The band wanted to take the sound of Savoy Brown a step further and add a rock edge to its basic boogie blues. The name Foghat was taken from a word that Peverett and his brother, John, had invented in a Scrabble game. I also looked up the name and it said… Foghat: A euphemism for getting high on marijuana.
Third Time Lucky (First Time I Was a Fool) peaked at #23 on the Billboard 100 and #33 in Canada in 1979. This was their second-highest charting single…right behind the #20 Slow Ride. This song is from the album Boogie Motel. The album peaked at #35 on the Billboard Album Charts.
This album was a little different from their earlier ones. They sounded a bit more radio-friendly on this album. Another song that charted on the album was Somebody’s Been Sleepin’ in My Bed. The band is still out there playing and releasing albums. Unfortunately, Lonesome Dave passed away in 2000 from kidney cancer. For me…he was the band.
Third Time Lucky (First Time I Was a Fool)
It’s all behind me There’s good luck up ahead Can’t break what’s left of my heart Once bitten twice shy I hate to see it all fall apart First love I had I was seventeen and I was younger Love to us was some kind of game And all my letters said I would never forget her Now I can’t recall her name
The first time I was a fool never knew that love could be so cruel It happened again Third time lucky Oh Yeah
I was in love one time I thought it was the real thing But I kept the feelings to myself Afraid to show them Expecting her to know It’s the reason she found someone else
It’s all behind me There’s good luck up ahead Can’t break what’s left of my heart Once bitten twice shy I hate to see it all fall apart
The first time I was a fool never knew that love could be so cruel It happened again Third time lucky Oh Yeah
The first time I was a fool never knew that love could be so cruel It happened again Third time lucky Oh Yeah
The first time I was a fool never knew that love could be so cruel It happened again Third time lucky Oh Yeah
After listening to the Flatlanders…I’ve listened to Joe Ely and Johnnie Dale Gilmore but never Butch Hancock. I was struck by his voice and was reminded a little of Dylan, Prine, Buddy Holly, and a little of Steve Earle at times.
In the early 1970s, Hancock co-founded The Flatlanders with fellow Lubbock musicians Joe Ely and Jimmie Dale Gilmore. The group initially struggled to find commercial success but later became famous within the Americana and alternative country scenes. Hancock has been a very good songwriter. Artists who covered him include Willie Nelson, Joe Ely, Jimmie Dale Gilmore, The Texas Tornados, Emmylou Harris, Jerry Jeff Walker, and more.
This song was on the album Eat Away The Night which was released in 1994. He has released 12 albums since 1978. This man is worth checking out. He will never make the top 40 but he has some quality songs that are worth hearing. This song has his voice and also a twangy guitar that sold it for me.
As I’ve been perusing his catalog…I’ve noticed a lot of storytelling, a sense of humor, good lyrics plus that voice. The album’s sound is powered by a classic rock ‘n’ roll combination of a Hammond B-3 organ, electric guitars, an acoustic, harmonica, and steel guitar at the edges for country and folk flavorings.
The title song closes the album, and I will include that above To Each His Own. Eats Away the Night sounds like something a musician would play at four in the morning after a six-hour gig. A quiet, restrained, and thoughtful tune to settle down with. A good way to end a night of music-making and an album. It’s almost a solo performance, with only a slide guitar accompanying Hancock’s voice and guitar.
Down in the pit of my stomach
I knew it couldn’t last…
It left me just as fast…
I tried to blame it on the moon above…
As I walked the beach alone
But all I heard were these few words…
To each his own
Down in the heart of the matter…
I first lost touch with you…
But for rosy and her constant chatter…
There was not much i could do
The world I tried to reach with her…
You can only reach alone
I even heard rose say to herself…
To each his own…
I’ve seen survival’s violent side…
I’ve seen some beast of prey…
Bring down some beasts of burden…
That just got in their way…
Some tore the hide…some chewed the
Flesh…right down to the bone
Some stopped there but some kept going…
To each his own…
I’ve run these things around my mind…
I’ve run ’em through my heart
In the mighty dream of life, i seem…
To play the strangest part
If I’m buried when I die…
Carve this on my stone…
Take a little here and leave a little there but
give…to each his own…
Well Dallas is a rich man with a death wish in his eyes
What a find this was for me. When CB recommended Joe Ely a while back, I found that he played in this band from 1972 until now. Their music is not the tears in my beer Nashville country music that you heard at the time and sometimes now. I would call it Americana…they have developed a big following following over the years. Comparing their music to country music at the time…this sounds like it came from a different planet.
They were formed in 1972 by three singer-songwriters: Jimmie Dale Gilmore, Joe Ely, and Butch Hancock. The band was born out of the music scene in Lubbock, Texas, where all three members grew up. They recorded their first album, All American Music in Nashville. Initially, the album was released only as an 8-track tape by Plantation Records, with the title “Jimmie Dale and the Flatlanders.” This limited release received little attention at the time, and the band members soon went their separate ways to pursue solo careers.
They then released an album in 1980 called One More Road. Their debut album was re-released in 1990 as More a Legend Than A Band after all of them had some success during their solo careers. They have released 9 albums including a live album in 2004 from 1972 to 2021. Their last album was released in 2021 called Treasure Of Love. They started to chart in the music charts in the 2000s.
Dallas was on their debut album All American Music released in 1972. This song was written by Jimmie Dale Gilmore. The track has a cool tool/instrument on it that always interested me…Steve Wesson is playing a saw on this. Take a listen to this and I included a much more recent live cut from Austin City Limits.
In 2016 The Flatlanders were voted into the Austin Music Awards Hall of Fame.
Jimmie Dale Gilmore: “The hook line of the song occurred to me while I was actually flying into Dallas, the line just presented itself to me. I had all those mixed feelings about the city and the song just came gradually. I’ve never felt that I’ve got it down right though. I’ve always been a perfectionist about that song. Joe also recorded it several times before he got the version that they put on the Musta Notta Gotta Lottaalbum. I’ve had a strange relationship with the song. I’ve had periods when I wish I’d never written it, then I’ve rediscovered it, looking at it through different eyes.”
Jimmie Dale Gilmore: “It so happened that in 1970 we all happened to be back in Lubbock, I had been in Austin working with a band called the Hub City Movers. Joe had been traveling in Europe and Butch had been in San Francisco. We just coincidentally moved back to Lubbock at the same time and started playing together. There was no design to put a band together as such but the chemistry was so great that it just took on a life of its own. We all had a common love of folk music, country and country blues-but then we also loved the Beatles. We had very eclectic taste. There was great radio in Lubbock at that time especially the border stations at night. We listened to it all.”
Joe Ely on the album: “It’s pretty crude but there’s a certain flavor about the record. It had an eerie, lonesome sound which reflected our roots in Lubbock and the wind, the dust and the environment.”
Music Critic Robert Christgau: In 1972, Joe Ely, Butch Hancock, and leader Jimmie Dale Gilmore–drumless psychedelic cowboys returned to Lubbock from Europe and San Francisco and Austin–recorded in Nashville for Shelby Singleton, and even an eccentric like the owner of the Sun catalogue and “Harper Valley P.T.A.” must have considered them weird. With a musical saw for theremin effects, their wide-open spaceyness was released eight-track only, and soon a subway troubadour and an architect and a disciple of Guru Mararaji had disappeared back into the diaspora. In cowpunk/neofolk/psychedelic-revival retrospect, they’re neotraditionalists who find small comfort in the past, responding guilelessly and unnostalgically to the facts of displacement in a global village that includes among its precincts the high Texas plains. They’re at home. And they’re lost anyway. A-
Dallas
Did you ever see Dallas from a DC-9 at night?
Well Dallas is a jewel, oh yeah, Dallas is a beautiful sight
And Dallas is a jungle but Dallas gives a beautiful light
Did you ever see Dallas from a DC-9 at night?
Well, Dallas is a woman who will walk on you when you’re down
But when you are up, she’s the kind you want to take around
But Dallas ain’t a woman to help you get your feet on the ground
And Dallas is a woman who will walk on you when you’re down
Well, I came into Dallas with the bright lights on my mind,
But I came into Dallas with a dollar and a dime
Well Dallas is a rich man with a death wish in his eyes
A steel and concrete soul with a warm hearted love disguise
A rich man who tends to believe in his own lies
Yeah Dallas is a rich man with a death wish in his eyes
Well, I came into Dallas with the bright lights on my mind,
But I came into Dallas with a dollar and a dime
Did you ever see Dallas from a DC-9 at night?
Well Dallas is a jewel, oh yeah, Dallas is a beautiful sight
And Dallas is a jungle but Dallas gives a beautiful light
Did you ever see Dallas from a DC-9 at night?
Spent time feelin’ inferior standing’ in front of my mirror Combed my hair in a thousand ways, but I came out lookin’ just the same
*If you are on the main site…sorry for the formatting but if I correct the spaces it will publish everything as one huge paragrah…thanks WP*
This is my favorite song by Rod Stewart hands down. It’s an acoustic-driven rocker with Rod never relenting on the lyrics. The song has a stream-of-consciousness feel to it. Every Picture Tells a Story was written by Stewart and Ron Wood.
For my money…this is Rod Stewarts best era. He sounds sharp, the music is alive, and he is not following a trend. I just wish they would have saved some of these songs for The Faces also. This song has something some of his later songs did not…a raw energetic sound.
He had some guests on this song. Maggie Bell with vocals, Long John Baldry with vocals, Ian McLagan on Hammon organ, Ronnie Wood on lead and acoustic guitar, and Kenney Jones on drums.
Stewart went from recording the second Faces’ album Long Player, while also squeezing in tour dates with the group, to starting up the sessions for Every Picture Needs a Story. He also produced this album and laid the songs down fast. This album made Rod Stewart in a lot of ways. The album had Maggie May, Reason To Believe, (I Know) I’m Losing You (with the Faces), Mandolin Wind, and of course the title song. It is my favorite Stewart album. I grew up with most of the singles.
One lyric that I’ve heard wrong…well not really heard wrong. In the line On the Peking ferry I was feeling merry, sailing on my way back here. I knew what he was singing…but I thought it was “Peking Ferry I was feeling Mary“ which I think would have fit perfectly.
Rod Stewart: “I can remember the build up. You know what the song’s about – your early teenage life when you’re leaving home and you’re exploring the world for yourself. Ronnie (Wood) and I rehearsed round my house at Muswell Hill and recorded it the next day. That whole album was done in 10 days, two weeks, about as long as it takes to get a drum sound right nowadays.”
Every Picture Tells a Story
Spent some time feeling inferior Standing in front of my mirror Combed my hair in a thousand ways But I came out looking just the same
Daddy said, “Son, you better see the world I wouldn’t blame you if you wanted to leave But remember one thing, don’t lose your head To a woman that’ll spend your bread” So I got out, whoo
Paris was a place you could hide away If you felt you didn’t fit in The French police wouldn’t give me no peace They claimed I was a nasty person
Down along the Left Bank, minding my own, whoo Was knocked down by a human stampede Got arrested for inciting a peaceful riot When all I wanted was a cup of tea I was accused, whoo
I moved on Down in Rome, I wasn’t getting enough Of the things that keep a young man alive My body stunk, but I kept my funk, whoo At a time when I was right outta luck
Getting desperate, indeed I was, yeah Looking like a tourist attraction Oh, my dear, I better get outta here For the Vatican don’t give no sanction I wasn’t ready for that, no, no
I moved right out east, yeah Listen On the Peeking ferry, I was feeling merry Sailing on my way back here I fell in love with a slit-eyed lady By the light of an eastern moon
Shanghai Lil never used the pill She claimed that it just ain’t natural She took me up on deck and bit my neck Oh, people, I was glad I found her Oh, yes, I was glad I found her, whoo-hoo
Wait a minute I firmly believed that I Didn’t need anyone but me I sincerely thought I was so complete Look how wrong you can be
The women I’ve known I wouldn’t let tie my shoe They wouldn’t give you the time of day But the slit-eyed lady knocked me off my feet God, I was glad I found her
And if they have the words I can tell to you To help you on the way down the road I couldn’t quote you no Dickens, Shelley or Keats ‘Cause it’s all been said before Make the best out of the bad, just laugh it off, ha You didn’t have to come here anyway
So, remember, every picture tells a story, don’t it? Every picture tells a story, don’t it? Every picture tells a story, don’t it? Whoo Every picture tells a story, don’t it?
Every picture tells a story, don’t it? Whoo Every picture tells a story, don’t it? Every picture tells a story, don’t it? Every picture tells a story, don’t it? Every picture tells a story, don’t it?
Every picture tells a story, don’t it? Every picture tells a story, don’t it? Every picture tells a story, don’t it? Every picture tells a story, don’t it? Every picture tells a story, don’t it?
Every picture tells a story, don’t it? Whoo Every picture tells a story, don’t it? Whoo Every picture tells a story, don’t it? Whoo Every picture tells a story, don’t it? Whoo Every picture tells a story, don’t it? Whoo
Every picture tells a story, don’t it? Every picture tells a story, don’t it? Every picture tells a story, don’t it? Every picture tells a story, don’t it?
If you ever watch something I recommend…please give this short one-hour film a chance. Someone brought a DVD of this for me to watch around 7 years ago. I thought it was going to be boring. I ended up watching it twice in one sitting. It will draw you in. I watch it at least once every year or two.
A 50-year-old man named Dick Proenneke is in Twin Lakes Alaska in 1968 and films himself building a retirement cabin. He starts out by staying in a friend’s cabin. He starts gathering wood and making some of the tools he uses as he goes. This man…is a real man. if he needs a spoon…he starts carving himself out one. He builds this cabin and makes everything including wood hinges for the door. He also made hinges out of his tin containers. He gathers rocks from somewhere down the lake and brings them back… then he starts building his chimney.
He is by himself and sets up the camera everywhere he goes. He goes out fishing when he is hungry and hunting for meat for the winter only taking what he needs. He uses just what he needs and doesn’t take more from nature than he could use. He makes almost everything from scratch. He uses his tin canisters for different things. He buries one and covers for a refrigerator. The only help he receives is a pilot friend who lands every now and again to deliver supplies. He was a master craftsman, to say the least.
He also filmed all the wildlife around. Rams, wolves, bears, birds, and Caribou. He also gets some great shots of the area around Twin Lakes. The snowy mountains were breathtaking.
It doesn’t sound that special but I have watched it at least 6 more times since the night I watched it twice… sometimes showing it to other people. He makes it look so easy. He filmed enough to have a few more short documentaries which were released but nothing matches that first one. This man made me feel like a mouse, a kid, a beginner, a slouch. He is so talented and tough.
He ended up staying there until 1999 alone and then left to live with his brother at age 82. Dick passed away at 86 in 2003. The cabin is still there and is on the National Register of Historic Places. People come from all over the world to visit it.
I wish YouTube had the complete documentary but they don’t. I watch modern YouTube videos of people visiting the cabin now. They see his cache in the back, his sled, and all the cabin parts. You see him in 1968 building those items. Like I said earlier, there are more documentaries on him but start with this one. This one is great. I’ve never had someone tell me they were disappointed in it.
When I started this blog…I had no idea that I would concentrate on single songs. I was going to cover pop culture and I did at the beginning more. I would like to get one in every now and then.
Today… everything seems to be bigger, stronger, and faster. That isn’t true though with a certain passenger airplane. A flight from New York to London now will take around 7 hours and 35 minutes to 8 hours and 10 minutes long. How fast would that flight be in the 1970s on the Concorde? That would take you a cozy three-and-a-half hours. The fastest flight was two hours and fifty-two minutes. It would travel at 1,354 mph. It was more than twice the speed of sound.
I’m not a huge airplane guy but this aircraft fascinated me and I always wanted to ride on one. The nose cone would come down so the pilots could see the runway…it looked like something from a Scifi movie. It would reach Mach 2 between London and New York. I would see pictures of it as a kid or on the news and I thought it was the coolest plane I’d seen. I probably still do. I do remember complaints about the sonic boom.
In November 1962, the British and French governments signed a treaty to jointly develop the Concorde. The Concorde prototype made its maiden flight on March 2, 1969. After some more prototypes, they tested and made modifications, including addressing issues with noise, fuel efficiency, and environmental impact. received its airworthiness certificate in 1975, with the first commercial flights beginning on January 21, 1976, by British Airways and Air France.
There was a plan for a Concorde-type supersonic plane in the US called a Boeing 2707. It would have gone 3 times the speed of sound and held 277 passengers compared to the 100 passengers the Concorde held. It was too expensive to build and was called “the most expensive aircraft never built.” Here is a picture of a 1966 mock-up of the 2707.
Boeing 2707
In 1977, it cost £431 to fly one way onboard Concorde between London and Washington. Adjusted for inflation, that’s about £2,200 ($2,800) in today’s money. However, fare prices gradually went up, and by 1996, a roundtrip across the Atlantic would generally be priced at around $12,500 in today’s money. So it was very expensive. The meals and service were great but it was cramped inside compared to other airplanes at the time. It was also noisy…
All together… two prototypes, two pre-production aircraft, two development aircraft, and 14 production aircraft for commercial service. All of them except the two pre-production builds are preserved in museums.
This all leads us to why the Concorde is in museums now and not in the sky. The price, noise, and it was so expensive to operate. Every hour in the sky had to have 22 hours of maintenance. Also on July 25, 2000, the Concorde crashed. It was shortly after takeoff and 109 people died onboard plus 4 on the ground. That was its only crash. They did go on until 2003 but officially retired the plane that year.
A New York Times writer wrote this about the food served. “What followed the coffee was a breakfast of fresh papaya, guava, pineapple, strawberries and mangoes, croissants and brioche that might have come from a Paris bakery, a pretty good approximation of eggs benedict and a soufflé Gruyère, all washed down with Piper‐Heidsieck Cuvée Diplomatique. The china, of course, was Limoges.”
This video shows the take-off from inside the plane by a passenger.
I have so many songs I want to have on here. I read the original post I did and re-read the comments and took some songs from your suggestions and used them. I haven’t got to all of them…so the others probably will be on the next one. I picked one song and you all picked the rest. Some will be in the next edition that I couldn’t fit in this one.
I hope you are all having a great Sunday.
Jackie Brenston and his Delta Cats – Rocket 88
CB mentioned this one and it should have been on the first one…since this is often said to be the first rock and roll song. It’s only fitting that it was about a car. The recording session happened on March 3, 1951, at Sam Phillips’ Memphis Recording Service in Memphis, Tennessee, which would later become the legendary Sun Studio.
The song was written by Ike Turner and Jackie Brenston. The Delta Cats were actually Ike Turner’s band Turner’s King of Rhythm.
A review from Time Magazine in 1951
Rocket 88 was brash and it was sexy; it took elements of the blues, hammered them with rhythm and attitude and electric guitar, and reimagined black music into something new. If the blues seemed to give voice to old wisdom, this new music seemed full of youthful notions. If the blues was about squeezing cathartic joy out of the bad times, this new music was about letting the good times roll. If the blues was about earthly troubles, the rock that Turner’s crew created seemed to shout that the sky was now the limit.
Commander Cody and His Lost Planet Airmen – Hot Rod Lincoln
The main thing I like about the song is the guitar. It has a slight Chuck Berry feel to it and I like the fills the guitar player throws in. Of course, I like Commander Cody’s (George Frayne) vocal sound as well.
The band signed with Warner Brothers and the label wanted a soft country sound but the band refused to change its raw style.
Hot Rod Lincoln was originally written by Charlie Ryan. It was first recorded and released by Charlie Ryan and The Livingston Brothers in 1955. Commander Cody and His Lost Planet Airmen were a County-Rock group formed at the University of Michigan. Commander Cody is the lead singer and piano player George Frayne. This would be their only top-ten hit. Another song that is well-known by them is Smoke Smoke Smoke.
The Renegades – Cadillac
Fellow blogger HotFox63 mentioned this song when I did a Clash post on Brand New Cadillac so I thought it would be perfect for this. Very cool song that I knew nothing about.
The Renegades were a British rock band formed in Birmingham in 1960. The original lineup consisted of Kim Brown (vocals, guitar), Denys Gibson (guitar), Ian Mallet (bass), and Graham Johnson (drums). Cadillac was released as a single in 1964. The song quickly became a hit in Finland, reaching #1 on the charts. Its success in Finland helped the band gain a substantial following in Scandinavia, and the song’s popularity also spread to other parts of Europe, including Italy.
Rosanne Cash – Black Cadillac
Obbverse mentioned this one. It’s a song from 2005 from an album with the same name. The black Cadillac in the song symbolizes both a funeral car and a connection to her father, who owned a black Cadillac…and about loss, memory, and mourning.
She wrote the album about dealing with the death of her father.
“It certainly crossed my mind that I was opening myself to questions about how much [of the album] was documentary and how much was poetry, I certainly did think about it. But, at the same time, I think that the themes are so universal that it almost doesn’t matter what’s particular to my life. … People can bring their own lives to this subject very easily.”
Beach Boys – 409
Christiansmusicmusings and Halffastcyclingclub both mentioned this one by the Beach Boys. The Beach Boys would be an endless supply of cars and endless summers. This song was written by Brian Wilson, Mike Love, and Gary Usher and was released in 1962.
CB mentioned a song on this list and this list came to life…so thanks CB. Some songs about sports or sports figures. I managed to get in baseball, boxing, and even Cricket. I can see a part II in the future.
The songs I know the most about are Baseball theme songs because that is the sport I follow the most.
John Fogerty – Centerfield
Along with “Talkin’ Baseball” and “Take Me Out To The Ballgame,” this quickly became one of the most popular baseball songs ever. It’s a fixture at ballparks between innings of games and plays at the Baseball Hall of Fame in Cooperstown, New York.
Fogerty mentions 3 huge baseball stars…”So say, Hey Willie, tell Ty Cobb and Joe DiMaggio.” He was influenced by Chuck Berry’s Brown Eyed Handsome Man with the lyrics “Rounding third he was heading for home, it was a brown eyed handsome man,” which is lifted from Berry’s song “Brown Eyed Handsome Man.”
John Fogerty:“I’d hear about Ruth and DiMaggio, and as my dad and older brothers talked about the Babe’s exploits, their eyes would get so big. When I was a little kid, there were no teams on the West Coast, so the idea of a Major League team was really mythical to me. The players were heroes to me as long as I can remember.”
Paul Kelly – Bradman
I’ll be the first to admit I know little nothing about Cricket but the song is great. It’s about Sir Donald Bradman, arguably…. the greatest ever cricketer (and definitely the greatest ever Australian cricketer). This one peaked at #51 in Australia in 1987 and was part of a double A-sided single along with the song Leaps and Bounds.
Chris Gaffney – Eyes of Roberto Duran
This song was written by Tim Russell and it’s covered here by Chris Gaffney. Gaffney had a terrific voice and I discovered him when I covered The Hacienda Brothers last week. This song was on the 1995 album Loser’s Paradise.
Roberto Durán, a Panamanian boxer, is widely regarded as one of the greatest fighters of all time. Known as “Manos de Piedra” (Hands of Stone) for his punching power, Durán’s career lasted from 1968 to 2001. That is a long long career for a boxer.
Durán has talked about an incident from his childhood that left him with a unique trait. As a young boy, he was hit in the eye with a rock, resulting in a permanent droop in his left eyelid. This injury gave Durán a distinctive look, contributing to his fierce ring presence. Despite this, his vision was not significantly impaired.
Bob Dylan – Hurricane
Hurricane is a protest song by Bob Dylan co-written with Jacques Levy, released in 1976 on Dylan’s album Desire. The song tells the story of Rubin “Hurricane” Carter, a middleweight boxer who was wrongfully convicted of a triple murder in Paterson, New Jersey, in 1966. Dylan’s song played a huge role in bringing Carter’s case to public attention.
Warren Zevon – The Ballad of Bill Lee
This song is about one of the most colorful baseball players ever. Bill Lee was called Spaceman because of his views on the world. He was from the 1960s counterculture when most baseball players were straight-laced. When asked about mandatory drug testing, Lee said “I’ve tried just about all of them, but I wouldn’t want to make it mandatory.”
This is from Warren Zevon’s 1980 album “Bad Luck Streak in Dancing School.” The song is a tribute to Bill “Spaceman” Lee.
Good times and riches and son-of-a-bitches I’ve seen more than I can recall
When I got Jimmy Buffett’s greatest hits in the 80s this is one song that stood out to me. The greatest hits was called “Songs You Know By Heart.” I didn’t know much about the guy before then but he was intriguing. This song grew on me more through the years because I could start relating to the song more and more.
Of course, I knew Margaritaville well and I remembered Come Monday but the rest were new to me. He had some serious songs like A Pirate Looks At Forty and then he had Why Don’t We Get Drunk and Screw and Cheeseburger in Paradise.
In my past posts about Buffett I told people if they had a chance to see him…do it. His concerts were the perfect place to take a date to. I’ve never been to a concert that was such a party atmosphere. I saw him twice and remember Beach Balls being up in the air the entire concert…swatted by the audience.
The song is the title track of Buffett’s 1977 album Changes in Latitudes, Changes in Attitudes. This album marked a turning point in Buffett’s career, contributing to his growing popularity and being known as “Gulf and Western,” a blend of country, folk, rock, and Caribbean influences.
This was also the name of his seventh studio album which included the song he was forever known for, Margaritaville. The album peaked at #12 on the Billboard Album Charts, #2 on the Billboard Country Charts, and #43 in Canada in 1977.
The song peaked at #37 on the Billboard 100, #24 on the Billboard Country Charts, #34 in Canada, and #21 on the Canadian Country Charts in 1977.
Changes in Latitudes, Changes in Attitudes
I took off for a weekend last month just to try and recall the whole year All of the faces and all of the places wonderin’ where they all disappeared I didn’t ponder the question too long, I was hungry and went out for a bite Ran into a chum with a bottle of rum and we wound up drinkin’ all night
It’s those changes in latitudes, changes in attitudes Nothing remains quite the same With all of our running and all of our cunning If we couldn’t laugh we would all go insane
Reading departure signs in some big airport reminds me of the places I’ve been Visions of good times that brought so much pleasure makes me want to go back again If it suddenly ended tomorrow I could somehow adjust to the fall Good times and riches and son-of-a-bitches I’ve seen more than I can recall
These changes in latitudes, changes in attitudes Nothing remains quite the same Through all of the islands and all of the highlands If we couldn’t laugh we would all go insane
I think about Paris when I’m high on red wine I wish I could jump on a plane So many nights I just dream of the ocean, god I wish I was sailin’ again Oh, yesterday’s over my shoulder, so I can’t look back for too long There’s just too much to see waiting in front of me and I know that I just can’t go wrong
With these changes in latitudes, changes in attitudes Nothing remains quite the same With all of my running and all of my cunning If I couldn’t laugh I just would go insane If we couldn’t laugh we just would go insane If we weren’t all crazy we would go insane
Thanks to Dave for posting this on his site. Below is the request that we got to write about. “There are many great songs about music, so let’s highlight them. Pick a song you like either about music itself (eg, ‘I love Music’ and so on) or about the life of a musician making music . Or anything else you can think of about music… about music! “
I sometimes go for the B sides or ones that aren’t heard as much. Not this time!
I remember when I was 5-6 years old and listening to this song. The verses I ignored at the time and enjoyed the chorus immensely going around singing it and being told to shut up already by my sister. I guess a six-year-old singing Bye, bye Miss American Pie, Drove my Chevy to the levee but the levee was dry, And them good ole boys were drinking whiskey and rye, Singin’ this’ll be the day that I die, This’ll be the day that I die… would get old but hey…I had good taste anyway (better than my sister).
It’s a song that I don’t get tired of…ever. When I think of it I think of my childhood and also a big dose of pop culture. We all know that the day the music died was pointing to the Buddy Holly, Ritchie Valens, and The Big Bopper plane crash. The rest builds up and between the lines, he sings about a lot of events and artists.
Where do I begin with this one? The song has so many references that it acts as a pop culture index by itself. I have read about college classes just on this song. It has been inspected and dissected since its release. Long after Don McLean leaves this earth…the song will be inspected and dissected again and again.
We do know the song was inspired by Buddy Holly… What does it all mean? While being interviewed in 1991, McLean was asked for probably the 1000th time “What does the song ‘American Pie’ mean to you?,” to which he answered, “It means never having to work again for the rest of my life.” Now that is a great and honest answer by Mclean.
In 2015 he opened up about the song and sold the original lyrics for 1.2 million dollars. This time he answered the question seriously. “It was an indescribable photograph of America that I tried to capture in words and music.” He also said that American Pie was Buddy Holly’s airplane that crashed…it was a made-up name by McLean because the company that owned the plane didn’t name any of them. “People ask me if I left the lyrics open to ambiguity, of course, I did. I wanted to make a whole series of complex statements. The lyrics had to do with the state of society at the time.”
In later years I would buy the single and try to figure out who he was talking about. Some of the lyrics include references to Karl Marx (or Groucho Marx), Vladimir Ilyich Lenin (or John Lennon), the Beatles, Bob Dylan, Buddy Holly, The Byrds; James Dean; Charles Manson; the Rolling Stones; the “widowed bride,” Jackie Kennedy, Jimi Hendrix, the Vietnam War, The Fillmore East, and more.
This song peaked at #1 in the Billboard 100, #1 in Canada, #1 in New Zealand, and #2 in the UK in 1972. If you want more… here is a website PDF that breaks down the song line by line of their interpretation.
I’ll let Don McLean talk about the song: “For some reason, I wanted to write a big song about America and about politics, but I wanted to do it in a different way. As I was fiddling around, I started singing this thing about the Buddy Holly crash, the thing that came out (singing), ‘Long, long time ago, I can still remember how that music used to make me smile.’
I thought, Whoa, what’s that? And then the day the music died, it just came out. And I said, Oh, that is such a great idea. And so that’s all I had. And then I thought, I can’t have another slow song on this record. I’ve got to speed this up. I came up with this chorus, crazy chorus. And then one time about a month later I just woke up and wrote the other five verses. Because I realized what it was, I knew what I had. And basically, all I had to do was speed up the slow verse with the chorus and then slow down the last verse so it was like the first verse, and then tell the story, which was a dream. It is from all these fantasies, all these memories that I made personal. Buddy Holly’s death to me was a personal tragedy. As a child, a 15-year-old, I had no idea that nobody else felt that way much. I mean, I went to school and mentioned it and they said, ‘So what?’ So I carried this yearning and longing, if you will, this weird sadness that would overtake me when I would look at this album, The Buddy Holly Story because that was my last Buddy record before he passed away.”
American Pie
A long long time ago
I can still remember how
That music used to make me smile
And I knew if I had my chance
That I could make those people dance
And maybe they’d be happy for a while
But February made me shiver
With every paper I’d deliver
Bad news on the doorstep
I couldn’t take one more step
I can’t remember if I cried
When I read about his widowed bride
Something touched me deep inside
The day the music died
So
Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And them good ole boys were drinking whiskey and rye
Singin’ this’ll be the day that I die
This’ll be the day that I die
Did you write the book of love
And do you have faith in God above
If the Bible tells you so?
Now, do you believe in rock and roll?
Can music save your mortal soul?
And can you teach me how to dance real slow?
Well, I know that you’re in love with him
‘Cause I saw you dancin’ in the gym
You both kicked off your shoes
Man, I dig those rhythm and blues
I was a lonely teenage broncin’ buck
With a pink carnation and a pickup truck
But I knew I was out of luck
The day the music died
I started singin’
Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey and rye
And singin’ this’ll be the day that I die
This’ll be the day that I die
Now, for ten years we’ve been on our own
And moss grows fat on a rolling stone
But, that’s not how it used to be
When the jester sang for the king and queen
In a coat he borrowed from James Dean
And a voice that came from you and me
Oh, and while the king was looking down
The jester stole his thorny crown
The courtroom was adjourned
No verdict was returned
And while Lennon read a book on Marx
The quartet practiced in the park
And we sang dirges in the dark
The day the music died
We were singin’
Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey and rye
And singin’ this’ll be the day that I die
This’ll be the day that I die
Helter skelter in a summer swelter
The birds flew off with a fallout shelter
Eight miles high and falling fast
It landed foul on the grass
The players tried for a forward pass
With the jester on the sidelines in a cast
Now the half-time air was sweet perfume
While the sergeants played a marching tune
We all got up to dance
Oh, but we never got the chance
‘Cause the players tried to take the field
The marching band refused to yield
Do you recall what was revealed
The day the music died?
We started singin’
Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey and rye
And singin’ this’ll be the day that I die
This’ll be the day that I die
Oh, and there we were all in one place
A generation lost in space
With no time left to start again
So come on Jack be nimble, Jack be quick
Jack Flash sat on a candlestick
‘Cause fire is the devil’s only friend
Oh, and as I watched him on the stage
My hands were clenched in fists of rage
No angel born in Hell
Could break that Satan’s spell
And as the flames climbed high into the night
To light the sacrificial rite
I saw Satan laughing with delight
The day the music died
He was singin’
Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey and rye
Singin’ this’ll be the day that I die
This’ll be the day that I die
I met a girl who sang the blues
And I asked her for some happy news
But she just smiled and turned away
I went down to the sacred store
Where I’d heard the music years before
But the man there said the music wouldn’t play
And in the streets the children screamed
The lovers cried, and the poets dreamed
But not a word was spoken
The church bells all were broken
And the three men I admire most
The Father, Son, and the Holy Ghost
They caught the last train for the coast
The day the music died
And they were singing
Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
And them good ole boys were drinking whiskey and rye
Singin’ this’ll be the day that I die
This’ll be the day that I die
They were singing
Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey and rye
Singin’ this’ll be the day that I die
I was reading an article by Dave about Jay Ferguson and he mentioned this band. I thought the band’s name sounded familiar. When I heard it I remembered this song on A.M. radio as a kid.
They formed in Los Angeles in 1971 by Jay Ferguson and Mark Andes after they left the band Spirit. They were known for their hits like I Got A Line On You, Nature’s Way, and the song “Taurus” which Spirit claims resembles Stairway To Heaven a little too much.
In the early seventies, David Geffen tried to get someone to sign Jackson Browne. He was turned down by almost all of the record companies. What is that old saying? “If the Mountain won’t go to Mohammed, then Mohammed must come to the Mountain.” So Geffen made his own record company to sign Jackson Browne. He called this record company Asylum.
His first signing was, of course, Jackson Browne. His second signing was Jo Jo Gunne. After Jo Jo Gunne came The Eagles, Joni Mitchell, Judee Sill, Bob Dylan (for two albums), Linda Ronstadt, Tom Waits, and Warren Zevon. That is a hell of a roster. The band included Jay Ferguson (vocals, keyboards) and Mark Andes (bass), the original lineup of Jo Jo Gunne included Matt Andes (guitar) and William “Curly” Smith (drums).
This song peaked at #27 on the Billboard 100, #30 in Canada, and #6 in the UK in 1972. The song was on their self-titled debut album. They released 5 albums altogether and the last one was in 2005 called Big Chain.
Despite the initial success of this song… Jo Jo Gunne did not achieve lasting mainstream popularity and they are often considered a one-hit wonder. Jay Ferguson went on to have hits on his own hit, Thunder Island peaked at #9 in America in 1978, and Shakedown Cruise #31 in 1979.
Run Run Run
Doo doo doo Doo doo doo doo Run Run Run Run Run Run
Doo doo doo Doo doo doo doo Run Run Run Run Run Run
You’d better ride on baby, You was born outside of the law Run Run
Doo doo doo Doo doo doo doo Run Run Run Run Run Run
Oh load up your mama, W’ll ride on out to the line Run Run
Run Oh Run
Doo doo doo Doo doo doo doo Run Run Run Run Run Run
Oh welcome to the party, We’re all just papers in the wind Run Run
A fun song that has a bit more of a kick than a regular Elton John song.
The song was written by Elton, who wrote the music, and his songwriting partner Bernie Taupin who wrote the lyrics. He said it was his first attempt at writing a rock song that was totally English. Up until then, he focused on American Culture.
This song is about Taupin’s teen years going to British dance clubs, where fights were common. Many of Taupin’s songs are written to relate to Elton’s life, but not this one…it’s very unlikely that Elton would be fighting in a bar. Elton recorded this song while leaping around and standing up to get a certain feel.
The song was on the album Goodbye Yellow Brick Road and parts of it were recorded in Jamaica. This could very well be Elton John’s best album. It contained the title song, Bennie and the Jets, Candle in the Wind, and more. It was during a period when John and Taupin could do no wrong…they had the Midas touch. Everything they touched turned to gold and more times platinum. Between 1969 to 1976 the pair released 11 albums. Six of those were #1 in the Billboard 100 and all of them made it to the top ten.
The album was released in 1973 and it peaked at #1 on the Billboard 100, #1 in Canada, #1 in the UK, and #5 in New Zealand in 1973.
The song peaked at #12 on the Billboard 100, #20 in Canada, #7 in the UK, and #12 in New Zealand in 1973.
As with other Elton songs…I was surprised when I saw the lyrics. He is one of the hardest singers to nail down the words I’ve ever heard…for me anyway. The line about getting drunk is brilliant…”Get about as oiled as a diesel train” but for the longest, I would just mumble… blah blah blah blah DIESEL TRAIN. This song though is clearer than some of his others.
Bernie Taupin on recording some of the album in Jamaica: “The climate was hospitable, but the natives weren’t. To use the terminology of the time, it was not a ‘good vibe.’ I remember a lot of barbed wire around the studio and armed guards. We spent a lot of time congregating around the pool area of the hotel, feeling there was safety in numbers. The Stones did manage to record there, but in retrospect, I think they had a mobile unit with them. The only thing I remember trying to record was ‘Saturday Night’s Alright For Fighting.’ It was an aborted attempt, just atrocious.”
Saturday Night’s Alright (For Fighting)
It’s getting late, have you seen my mates?
Ma tell me when the boys get here
It’s seven o’clock and I want to rock
Want to get a belly full of beer
My old man’s drunker than a barrel full of monkeys
And my old lady she don’t care
My sister looks cute in her braces and boots
A handful of grease in her hair
Don’t give us none of your aggravation
We had it with your discipline
Saturday night’s alright for fighting
Get a little action in
Get about as oiled as a diesel train
Gonna set this dance alight
‘Cause Saturday night’s the night I like
Saturday night’s alright alright alright
Well they’re packed pretty tight in here tonight
I’m looking for a dolly who’ll see me right
I may use a little muscle to get what I need
I may sink a little drink and shout out “She’s with me!”
A couple of the sounds that I really like
Are the sounds of a switchblade and a motorbike
I’m a juvenile product of the working class
Whose best friend floats in the bottom of a glass
Don’t give us none of your aggravation
We had it with your discipline
Saturday night’s alright for fighting
Get a little action in
Get about as oiled as a diesel train
Gonna set this dance alight
‘Cause Saturday night’s the night I like
Saturday night’s alright alright alright
Don’t give us none of your aggravation
We had it with your discipline
Saturday night’s alright for fighting
Get a little action in
Get about as oiled as a diesel train
Gonna set this dance alight
‘Cause Saturday night’s the night I like
Saturday night’s alright alright alright
I was talking to a friend of mine who is reading a Gram Parsons book and I learned something from him that I didn’t know about this song. This song is a tragic song about three friends. Linda Ronstadt also appears on this one. The song is credited to Parsons and Harris.
The song is structured as a series of verses recounting the stories of three real individuals, each meeting a tragic end. The first verse of this song is about actor/musician Brandon deWilde. Parsons was friends with deWilde in the sixties and early seventies. He was in films and TV shows such as Shane, The Virginian TV Series, Hawaii Five-O, and many others. He started a music career and Gram Parsons helped him out in the sixties. Some have said no one could sing harmony better with Gram than deWilde excluding Harris.
In 1972 he was in Denver doing a stage production of Butterflies Are Free and he was killed in a camper van that hit a guardrail, truck, and then rolled. He was 30 years old.
The second verse was about Byrds’ extremely gifted guitar player Clarence White. An incredible country guitar player who co-invented with Gene Parsons the B-Bender that Telecasters use. He joined the Byrds around the time that Gram was leaving. He and his brother Roland White were loading equipment in their car and a drunk driver killed Clarence but Roland survived.
The third person was Sid Kaiser, a talent agent and producer in Los Angeles. He died of a heart attack a few days after Clarence White. Gram would pass on a few months after Keiser.
The sessions for “Grievous Angel” took place in 1973, primarily at Wally Heider Studios in Los Angeles. Parsons worked with renowned musicians, including members of Elvis Presley’s TCB Band: James Burton (guitar), Glen D. Hardin (piano), and Ronnie Tutt (drums), among others.
Rock critic Ben Fong-Torres: “Because Gram never lived to see through the details of the album including the order of songs…’Darkness’ was placed at the end of the second side, partly because it made sense, and partly because it could easily be read as a song about Gram himself, in particular, the lines he wrote for Clarence:”
In My Hour of Darkness
In my hour of darkness In my time of need Oh Lord, grant me vision Oh Lord, grant me speed
Once I knew a young man Went driving through the night Miles and miles without a word With just his high beam lights Who’d have ever thought they’d build Such a deadly Denver bend To be so strong, to take so long As it would ’til the end
In my hour of darkness In my time of need Oh Lord, grant me vision Oh Lord, grant me speed
Another young man safely strummed His silver string guitar And he played to people everywhere Some say he was a star But he was just a country boy His simple songs confess And the music he had in him So very few possess
In my hour of darkness In my time of need Oh Lord, grant me vision Oh Lord, grant me speed
Then there was an old man Kind and wise with age And he read me just like a book And he never missed a page And I loved him like my father And I loved him like my friend And I knew his time would shortly come But I did not know just when
In my hour of darkness In my time of need Oh Lord, grant me vision Oh Lord, grant me speed
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