Blues Image – Ride Captain Ride …. One Hit Wonder Week

I usually stay a few posts ahead. I’ve been stockpiling them and I’ve noticed that at least five songs were bands or artists only hit. I thought we would all have some fun this week and do something different. I’m going to post only One Hit Wonders through Friday. I like posting album cuts usually… but this week we will revisit some older hits. I’m starting off with a song that was one of the first songs  I ever remembered.

Blues Image first came together in Florida in 1966. Florida in the sixties held a lot of future rock stars. You had the Allman Joys(Gregg and Duane Allman), Tom Petty, Bernie Leadon (Flying Burrito Brothers and The Eagles), Don Felder (Eagles), My Back Yard (future Lynyrd Skynyrd), Black Foot, The Classic IV, Jim Morrison, Stephen Stills…and I could go on. The state was full of talent at that point in time.

This band performed regularly in the Miami area and became the house band at a club called Thee Image, a venue that also featured groups such as Led Zeppelin, Cream, and The Mothers of Invention.

They eventually moved to California and signed a deal with Atco Records. They released their self-titled debut album in 1969. It made no impact on the charts but while making their second album they started to play around with a keyboard riff. Guitarist Mike Pinera came up with “Seventy-three men sailed up”… he came up with that line after noticing 73 keys on that particular keyboard. You can’t make this stuff up. Mike Penera and keyboard player Skip Konte wrote this song. The keyboard in question is a Rhodes Electric Piano.

Rhodes Electric Piano

That was the single to the second album called Open. This is a one-hit-wonder band but what an impressive one-hit. Ride Captain Ride made it to #4 in the Billboard 100 and the Canadian Charts. The album Open peaked at #147 in 1970.

I always thought this song was about some historical event…but no it was just made up. Mike Pinera joined Iron Butterfly in 1969 while recording this album, he also joined a band called Ramatam in 1972 with Mitch Mitchell, and The Cactus Band in 1973.

Mike Pinera’s wife: “Ride Captain is a story from his imagination. I know when he was in the studio recording that album, they needed another song and he wrote it on the spot. He came up with 73 from the keyboard having 73 keys. A lot of people say it relates to a few different stories.”

Ride Captain Ride

Seventy-three men sailed up from the San Francisco Bay,
Rolled off of their ship and here’s what they had to say.
“We’re calling everyone to ride along to another shore,
Where we can laugh our lives away and be free once more.”

Ride, captain ride on your mystery ship,
Be amazed at the friends you’ve got there on your trip.
Ride, captain ride on your mystery ship,
Be aware of the things others just might have missed

No one heard them calling, no one came at all,
‘Cause they were too busy watching those old raindrops fall.
As a storm was blowing out on the peaceful sea,
Seventy-three men were sailing off into history.

Ride, captain ride on your mystery ship,
Be amazed at the friends you’ve got there on your trip.
Ride captain ride on your mystery ship,
Be aware of the world others just might have missed

Ride, captain ride on your mystery ship,
Be amazed at the friends you’ve got there on your trip.
Ride captain ride on your mystery ship,
Be aware of the world othersjust might have missed

Ride, captain ride on your mystery ship,
Be amazed at the friends you have here on your trip.
Ride, captain ride on your mystery ship,
Be aware of a world others just might have missed.

Humble Pie – 30 Days In The Hole

I heard this song before I knew who Marriott was…I learned later he was the same singer as in Itchycoo Park and Lazy Sunday which didn’t compute. I really wish I could have seen this band live. His voice in this is nasty…a perfect rock voice for this song.

Do you want a song that rocks? Humble Pie tried something different than most hard rock bands at the time. Marriott combined hard rock with a gospel feel. This is one of the nastiest songs you will hear. It’s as sleazy as you can get but it rocks.

This is personally my favorite song by Humble Pie. The band also included Peter Frampton for a while and was known for their excellent live shows. In 1969 Marriott left The Small Faces and teamed up with Frampton to start Humble Pie. They were a very successful touring band and mostly concentrated on albums…much like The Faces. This song never charted but did get some FM play.

While touring in Kentucky, Marriott read that getting caught with drugs in that state would give you an automatic 30 days in jail. He was also thinking about a friend of the band’s who had been sent to jail for having a joint. Drugs were part of the culture back then and just a way of life on the road. He used a lot of street names for drugs like “Chicago Green” is pot, and New Castle Brown is a kind of heroin…not to be confused with Newcastle Brown which is ale. Black Nepalese Hash is a rare variant of hashish that hails from the Highland regions of Nepal.

Marriott has said that inspiration for the title came from a Humphrey Bogart/James Cagney movie he saw on TV, where Bogart plays a prisoner who gets sent to “30 days in the hole.”

30 Days in the Hole

Roll my tape
Ooh, ooh, ooh

Thirty days,
Anyone doin’ that one?
I’m doin’ that one

30 days in the hole
30 days in the hole
30 days in the hole

All right all right all right all right, yeah

Chicago Green, talkin’ ’bout Black Lebanese
A dirty room and a silver coke spoon
Give me my release, come on
Black Nepalese, it’s got you weak in your knees
Sneeze some dust that you got buzzed on
You know it’s hard to believe

30 days in the hole
30 days in the hole
30 days in the hole
That’s what they give you
30 days in the hole
I know

Newcastle Brown, I’m tellin’ you, it can sure smack you down
Take a greasy whore and a rollin’ dance floor
It’s got your head spinnin’ round
If you live on the road, well there’s a new highway code
You take the urban noise with some dirt with poison
It’s gonna lessen your load

30 days in the hole
That’s what they give you now
30 days in the hole
Oh, yeah
30 days in the hole
All right, all right
30 days in the hole

What you doin’ boy?
You here for 30 days
Get, get, get your long hair cut
And cut out your ways

Black Nepalese, it got you weak in your knees
Gonna sneeze some dust that you got busted on
You know it’s so hard to please
Newcastle Brown can sure smack you down
You take a greasy whore and a rollin’ dance floor
You know you’re jailhouse-bound

30 days in the hole
30 days in the hole
30 days in the hole
Oh, yeah
30 days in the hole
30 days, 30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole
30 days in the hole

Smokey Robinson & The Miracles – Tears Of A Clown

I somehow got a lot of singles from relatives when I was a kid. They just ended up at our house. I had the original single of this and I loved it and still do. Smokey has such a smooth and cool voice. I can’t tell you how much I like this song. It’s high on my list of all-time songs I love. I remember being 12 and going to baseball practice and listening to this song before I left…it stayed with me through practice in the heat and that night. His voice is pure gold.

To me, Smokey is like American royalty or a national treasure as people say. When your peers like Dylan, Lennon, and everyone else sing your praises…you are doing something right.

Stevie Wonder and Hank Cosby (producer) came up with the music for this song. Smokey Robinson listened to the song for a few days and decided it sounded like a circus so he came up with the lyrics based on the sad clown Conio from the opera Pagliacci. It was Ruggero Leoncavallo’s opera about fatal jealousies in a traveling troupe of actors based on a real-life story… a case encountered by Leoncavallo’s father, who was a police magistrate in Naples.  Pagliacci was around in the late 1800s.

It was recorded in 1967 and was just an album track on the album Make It Happen. In 1970 it was released as a single (with a new mix) and was a huge hit. The song peaked at #1 on the Billboard 100, #7 in Canada, and #1 in the UK. It was written by Robinson, Stevie Wonder, and Hank Cosby. It was recorded in 1967 but it was released in 1970.

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It’s hard to believe but this song would be their only #1 hit on the Billboard 100 with Smokey. They had 42 songs in the top 100 and 6 top ten hits. Smokey would soon leave the Miracles after this song. He would be replaced by Billy Griffin on vocals. Now THAT had to be a hard gig to replace Smokey Robinson. Billy did a good job though because they had another number 1 with Love Machine Part 1. He does sound a lot like Smokey.

Smokey Robinson: “I was trying to think of something that would be significant, that would touch people’s hearts, but still be dealing with the circus, so what is that? Pagliacci, of course. The clown who cries. And after he makes everyone else happy with the smile painted on his face, then he goes into his dressing room and cries because he’s sad. That was the key.”

Below is Smokey Robinson telling the story of the song. Below that is the single version that we have all heard. What was it with those 60s-70s shows with the backdrops to the singers? Did they think it was Smokey Robinson and the Plumbers?

Tears of a Clown

Oh yeah, yeah, yeah

Now if there’s a smile on my face
It’s only there trying to fool the public
But when it comes down to fooling you
Now honey, that’s quite a different subject

But don’t let my glad expression
Give you the wrong impression
Really, I’m sad
Oh, I’m sadder than sad
You’re gone and I’m hurtin’ so bad
Like a clown I pretend to be glad

Now there’s some sad things known to man
But ain’t too much sadder than
The tears of a clown
When there’s no one around

Oh yeah, baby

Now if I appear to be carefree
It’s only to camouflage my sadness
In order to shield my pride I’ve tried
To cover this hurt with a show of gladness

But don’t let my show convince you
That I’ve been happy since you
Decided to go
Oh, I need you so
I’m hurt and I want you to know
But for others I put on a show

Oh, there’s some sad things known to man
But there ain’t too much sadder than
The tears of a clown
When there’s no one around, oh yeah

Just like Pagliacci did
I try to keep my sadness hid
Smiling in the public eye
But in my lonely room I cry
The tears of a clown
When there’s no one around

Oh yeah, baby

Now if there’s a smile on my face
Don’t let my glad expression
Give you the wrong impression
Don’t let this smile I wear
Make you think that I don’t care
Really, I’m sad
Hurtin’ so bad

Gram Parsons and Emmylou Harris – Return of the Grievous Angel

A song I heard many many years ago. This is about as genuine as you can get.

What a beautiful song. Country or whatever you want to call it…it’s a great one. Gram Parsons and poet Tom Brown wrote this song. This song was on his last solo album Grievous Angel. Gram was not a country wanna-be…he was country. Keith Richards has said that Gram taught him everything he knows about country music. After hearing Gram Parsons…Merle Haggard wanted to produce him.

After leaving the Byrds, Parsons made a series of albums… Grievous Angel completes the cycle. Beginning with the Flying Burrito Brothers’ The Gilded Palace of Sin, the work progressed through Burrito Deluxe and Parsons’ earlier solo effort, GP.

Gram Parsons and Emmylou Harris3

I have not mentioned his singing partner yet. The wonderful and beautiful Emmylou Harris. Emmylou Harris was an unknown singer in her early twenties when Gram Parsons saw her perform at a folk club in Washington, D.C. in 1971. He recruited her the following year to sing on 1973’s classic album GP and the subsequent tour. She ended up on the GP album and this one…Grievous Angel.

Grievous Angel peaked at #195 on the Billboard Album Charts. If Parsons had survived it’s no telling what he and Emmylou would have done together. His voice wasn’t strong like Johnny Cash or Merle Haggard but it was so emotional that you were in the story with him.

This song describes the vision of home and love that haunts a wanderer through his travels across America.

Emmylou Harris:  “I would say until I had met Gram and started working with him I didn’t really understand or have a real love or feel for country music. Like most of my generation, you know, country music was politically incorrect for us at that point. It was associated with Republicans and Right Wing and that sort of thing. He taught me the beauty and the poetry, the simplicity, the honesty in the music. And the love of harmony came from really singing with him.”

Emmylou Harris: Well, we got fired after our first gig. We had two weeks of rehearsal. And I was just in the band. I never worked with a band. I didn’t know how you did things. So I just recorded things as we went down. But Gram didn’t focus on the material from the record; he just wanted to play songs. So we sat around and played all these songs, but we never worked up a beginning, middle, and end. It was such a train wreck that first night. But actually, before we got fired, the club got closed down because Weather Report had played there a few days earlier, and they were so loud that an injunction was put against the club. So, technically, we really didn’t get fired.

Emmylou Harris: “I discovered my own voice singing in harmony with Gram, there is something about the uniqueness of two voices creating a sound that does not come when they are singing solo, and I have always been fascinated by that. That song, and our harmony, is kind of a pinnacle of our duet-singing together.”

Return of the Grievous Angel

Won’t you scratch my itch, sweet Annie Rich
And welcome me back to town?
Come out on your porch or step into your parlor
And I’ll tell you how it all went down
Out with the truckers and the kickers and the cowboy angels
And a good saloon in every single town

Oh, and I remembered something you once told me
And I’ll be damned if it did not come true
Twenty thousand roads I went down, down, down
And they all lead me straight back home to you

‘Cause I headed west to grow up with the country
Across those prairies with the waves of grain
And I saw my devil
And I saw my deep blue sea
And I thought about a calico bonnet
From Cheyenne to Tennessee

We flew straight across that river bridge
Last night a half past two
The switchman waved his lantern goodbye and good day
As we went rolling through
Billboards and truckstops pass by the grievous angel
And now I know just what I have to do
Take it for me, James

And the man on the radio won’t leave me alone
He wants to take my money
For something that I’ve never been shown
And I saw my devil
And I saw my deep blue sea
And I thought about a calico bonnet
From Cheyenne to Tennessee

The news I could bring, I met up with the king
On his head an amphetamine crown
He talked about unbuckling that old bible belt
And lighted out for some desert town
Out with the truckers and the kickers and the cowboy angels
And a good saloon in every single town

Oh, but I remembered something you once told me
And I’ll be damned if it did not come true
Twenty thousand roads I went down, down, down
And they all lead me straight back home to you

Twenty thousand roads I went down, down, down
And they all lead me straight back home to you

Jethro Tull – Aqualung

Although I have heard this one a lot…I still listen when I hear it on radio. So many changes in this song that even after repeats…it’s interesting. Probably the number 1 known song by Jethro Tull. According to Songfacts Ian Anderson wrote the song and called it “a guilt-ridden song of confusion about how you deal with beggars, the homeless.”

Ian’s wife at the time, Jennie took photos of the homeless and showed them to Ian.  Many of the lyrics describe actual homeless men. Jennie also wrote some lyrics from the photos, giving her songwriting credit and half the royalties from the song…they divorced in 1974.

Jethro Tull Aqualung Cover

Jethro Tull’s manager Burton Silverman commissioned an artist named Burton Silverman to do the watercolor cover of the album. He had seen Silverman’s work in Time Magazine earlier. Silverman took some pictures of Ian Anderson in his overcoat and ended up painting a very haggard-looking Anderson. Anderson was not happy with it at the time. Burton sued the band afterward because he didn’t think they had the right to use it for promotional items like T-Shirts.

An “Aqualung” is a portable breathing apparatus for divers. Anderson envisioned the homeless man getting that nickname because of breathing problems. Ian watched Sea Hunt and got ideas from that.

Aqualung the album peaked at #7 on the Billboard Album Charts, #5 in Canada, and #4 in the UK. Aqualung the song never charted but has constantly been played on Classic Rock radio without stopping.

Ian Anderson: “A guilt-ridden song of confusion about how you deal with beggars, the homeless… It’s about our reaction, of guilt, distaste, awkwardness, and confusion, all these things that we feel when we’re confronted with the reality of the homeless. You see someone who’s clearly in desperate need of some help, whether it’s a few coins or the contents of your wallet, and you blank them out. The more you live in that business-driven, commercially-driven lifestyle, you can just cease to see them.”

Ian Anderson on why it wasn’t a single:  “Because it was too long, it was too episodic, it starts off with a loud guitar riff and then goes into rather more laid back acoustic stuff. Led Zeppelin at the time, you know, they didn’t release any singles. It was album tracks. And radio sharply divided between AM radio, which played the 3-minute pop hits, and FM radio where they played what they called deep cuts. You would go into a album and play the obscure, the longer, the more convoluted songs in that period of more developmental rock music. But that day is not really with us anymore, whether it be classic rock stations that do play some of that music, but they are thin on the ground, and they too know that they’ve got to keep it short and sharp and cheerful, and provide the blue blanket of familiar sounding music and get onto the next set of commercial breaks, because that’s what pays the radio station costs of being on the air. So pragmatic rules apply.”

Aqualung

Sitting on a park bench
Eying little girls with bad intent
Snots running down his nose
Greasy fingers smearing shabby clothes, hey, Aqualung

Drying in the cold sun
Watching as the frilly panties run, hey, Aqualung
Feeling like a dead duck
Spitting out pieces of his broken luck, oh, Aqualung

Sun streaking cold, an old man wandering lonely
Taking time, the only way he knows
Leg hurting bad as he bends to pick a dog end
He goes down to a bog and warms his feet

Feeling alone, the army’s up the road
Salvation a la mode and a cup of tea
Aqualung, my friend, don’t you start away uneasy
You poor old sod, you see it’s only me

Do you still remember
December’s foggy freeze
When the ice that clings on to your beard
It was screaming agony

Hey and you snatch your rattling last breaths
With deep-sea diver sounds
And the flowers bloom like
Madness in the spring

Sun streaking cold, an old man wandering lonely
Taking time, the only way he knows
Leg hurting bad as he bends to pick a dog end
He goes down to a bog and warms his feet

Feeling alone, the army’s up the road
Salvation a la mode and a cup of tea
Aqualung my friend don’t you start away uneasy
You poor old sod, you see it’s only me

Aqualung my friend don’t you start away uneasy
You poor old sod, you see it’s only me

Sitting on a park bench
Eying up little girls with bad intent
Snots running down his nose
Greasy fingers smearing shabby clothes, hey Aqualung

Drying in the cold sun
Watching as the frilly panties run, hey Aqualung
Feeling like a dead duck
Spitting out pieces of his broken luck, hey Aqualung

Oh Aqualung

Townes Van Zandt – Pancho and Lefty

After the country post on Saturday…I looked through a lot of lists you all made. I listened…I want to thank Lisa for bringing this one up. It’s high time I did a post on Townes Van Zant. He was one of the best songwriters of the 20th Century.

What a songwriter Towns Van Zandt was…this song is probably best known for the Merle Haggard and Willie Nelson cover in 1983. The song peaked at #1 on the Country Billboard Charts and #1 on the Canadian Country Charts in 1983.

Willie Nelson has said that his and Merles duet album was almost complete but it lacked THAT song to put it over the top. Nelson said his daughter Lana suggested to him to listen to Pancho and Lefty by Townes Van Zandt. Willie then asked Townes what the song was about…and Townes said he didn’t know. Nelson then cut the track with his band. Willie and Merle had never heard that song before.

Nelson recorded it that night with his band and had to go and drag a sleepy Haggard (who was sleeping on his bus) to do the vocal part. The vocals were recorded in one take that night. They made a video of it and invited Townes to be in it. He was in the video as one of the Mexican  Federales.

The royalties from this song helped Van Zandt through the years. He told a story of getting pulled over by a couple of policemen. His car sticker was out of date so he got into the police car and they asked him what he does for a living. He said he was a songwriter and the policemen shook their heads. He then told them that he wrote “Pancho and Lefty” and their eyes lit up and they started to grin. Pancho and Lefty were the policemen’s police radio code names. They let Townes go after that.

Van Zandt did not like fame or what came attached to it. It’s been reported that he turned down opportunities to write with Bob Dylan. He respected Dylan a great deal but it was the celebrity part he didn’t want. He never ended up on a major label through his career…by choice. Steve Earle counted Townes Van Zandt as his mentor, and the two formed a close bond in the years since their initial encounter in 1978.

Unfortunately, Earle also adopted Van Zandt’s drug and alcohol habits. So bad, in fact, that Van Zandt actually visited Earle during a rare moment in which Townes was sober. Earle told him “I must be in trouble if they’re sending you.” Earle eventually named his son after Townes Justin Townes Earle.

The original song was on Van Zandt’s 1972 album The Late Great Townes Van Zandt. 

For Willie’s Big 60 show, Bob Dylan and Willie Nelson sang Pancho and Lefty. Bob covered the song sporadically in concert during the 90’s. In 2004, Rolling Stone ranked “Pancho and Lefty” 41st on its list of the “100 Greatest Country Songs of All Time.

Townes Van Zandt on being invited to be in the video: “It was real nice they invited me,”they didn’t have to invite me and I made I think $100 dollars a day. I was the captain of the federales. And plus I got to ride a horse. I always like that. It took four and a half days and that video was four and a half minutes long…The money goes by a strange life, or elsewhere. I mean it doesn’t come to me. But money’s not the question. I would like if I could write a song that would somehow turn one five-year-old girl around to do right. Then I’ve done good. That’s what I care about.”

Townes Van Zandt:  “I realize that I wrote it, but it’s hard to take credit for the writing, because it came from out of the blue. It came through me and it’s a real nice song, and I think, I’ve finally found out what it’s about. I’ve always wondered what it’s about. I kinda always knew it wasn’t about Pancho Villa, and then somebody told me that Pancho Villa had a buddy whose name in Spanish meant ‘Lefty.’ But in the song, my song, Pancho gets hung. ‘They only let him hang around out of kindness I suppose’ and the real Pancho Villa was assassinated.”

Pancho and Lefty

Living on the road my friend,
Is gonna keep you free and clean
Now you wear your skin like iron,
Your breath as hard as kerosene.
You weren’t your mama’s only boy,
But her favorite one it seems
She began to cry when you said goodbye,
And sank into your dreams.

Pancho was a bandit boy,
His horse was fast as polished steel
He wore his gun outside his pants
For all the honest world to feel.
Pancho met his match you know
On the deserts down in Mexico
Nobody heard his dying words,
Ah but that’s the way it goes.

All the Federales say
They could have had him any day
They only let him slip away
Out of kindness, I suppose.

Lefty, he can’t sing the blues
All night long like he used to.
The dust that Pancho bit down south
Ended up in Lefty’s mouth
The day they laid poor Pancho low,
Lefty split for Ohio
Where he got the bread to go,
There ain’t nobody knows

The poets tell how Pancho fell,
And Lefty’s living in cheap hotels
The desert’s quiet, Cleveland’s cold,
And so the story ends we’re told
Pancho needs your prayers it’s true,
But save a few for Lefty too
He only did what he had to do,
And now he’s growing old

Black Sabbath – Iron Man

I hope many of you enjoyed a long weekend!

This is a fun song. Now its popularity has risen to an all-time high with the 2008 Marvel movie Ironman. I know most serious movie fans are not big fans of the Marvel movies. I fit in there also because I don’t like watching a lot of CGI. As a music fan though, I’m glad they are sharing 60s and 70s music to a new generation.

Another song that the riff is easy for beginning guitar players to learn how to play. It was one of the first ones I learned. This was the biggest US hit for Black Sabbath. It got very little radio play but developed a cult following, which led to enough sales to give it a chart position.

Iron Man peaked at #52 in 1971 on the Billboard 100 and #68 in Canada. The song was written by all of the members of the band. It was on the album Paranoid released in 1970. The album peaked at #12 on the Billboard Album Charts, #20 in Canada, and #1 in the UK Album Charts.

They did something smart as far as singles. They followed the Led Zeppelin way of doing it. In the UK they didn’t release this as a single because they had released Paranoid the year before. People would show up in the UK wanting to hear one song…Paranoid… so they limited their single releases there.

Black Sabbath Bass guitar player Geezer Butler: “I was walking down the street one day and thought… ‘what if there were a bloody great bloke made out of metal walking about?”‘ 

EMS VCS3 1970's MKII modular analog classic synthi NO KS keyboard image 1

There is debate on how Ozzy got his voice distorted in the intro. Some say he got that by singing from behind a metal fan. Others say it was him singing through a VCS-3 Synthesizer…they came out in 1969. Another rumor was a  processor called a ring modulator (effects box) ran through a tremolo. Why don’t they just ask Ozzy? Uh…ok never mind! just kidding.

This is the only Black Sabbath album that I owned. I always liked it… Paranoid, War Pigs, Iron Man, and Hand of Doom I liked. One cool fact I read is Frank Zappa surprised Black Sabbath by covering this song because he knew they were in the audience.

Here is a partial list of artists who have covered this song from Songfacts: Marilyn Manson, Alice in Chains, Butthole Surfers, Add N To (X), Busta Rhymes, Therapy, NOFX, Auburn U. Band, Sir Mix-A-Lot, Tim McCarthy, Heavy Voltage, DYS, Tanzwut, EMO, Amoco Renegades, Dead Alewives, Replacements, The Cardigans, The Mats, and Offspring.

Tony Iommi:  “A lot of the words in the songs – a lot of the moods of the songs – are aggressive, especially in the early days – Satanic, if you like… That was the way it felt, so that was the way we played. But it got out of hand. With Paranoid in England, for instance. There was a girl (Hillary Pollard) found dead – a nurse she was: dead in her room with our album on the turntable going round. And it was taken to court saying that it was because of the album that she was depressed and killed herself, which was totally ridiculous, I think.”

Geezer Butler: “If the moral majority don’t understand it they’ll try to put it down, or get other people to read all sorts of things into it … The moral majority sort of people picked up on the Satanic part of it. I mean, most of it was about stopping wars and that side of it, and some science fiction stuff. There wasn’t that much Satanic stuff, and what there was it wasn’t exactly for the devil or anything like that; it was just around at the time and we just brought it to people’s attention.” 

Iron Man

I am iron man

Has he lost his mind?
Can he see or is he blind?
Can he walk at all
Or if he moves will he fall?

Is he alive or dead?
Has he thoughts within his head?
We’ll just pass him there
Why should we even care?

He was turned to steel
In the great magnetic field
Where he traveled time
For the future of mankind

Nobody wants him
He just stares at the world
Planning his vengeance
That he will soon unfold

Now the time is here
For iron man to spread fear
Vengeance from the grave
Kills the people he once saved

Nobody wants him
They just turn their heads
Nobody helps him
Now he has his revenge

Heavy boots of lead
Fills his victims full of dread
Running as fast as they can
Iron man lives again

Mink DeVille – Spanish Stroll

While talking to my friends CB and Paul…they bring up Mink Deville a lot so I decided to go check them out. I’ve heard of some of their music but I wanted more so I spent a few hours listening…I see why they bring them up…they are different and bring a lot to the table.

Mink DeVille was formed in 1974 in San Francisco but they are known for their association with punk bands at the New York club CBGB. They would go on to record six albums and Willy DeVille made 10 albums solo. The band lasted until 1986.

When I post a song of a more unknown artist to most of my readers…I try to find a song that is more commercial…maybe not their best song but a “radio-friendly” song to get people digging more. This one is radio-friendly and has a Lou Reed feel. I really like this band’s music…love the lyrics to this.

The song “Spanish Stroll” by Mink DeVille is an iconic track from their debut album, released in 1977. It’s very New York and it describes navigating around in urban life to escape the mundane and ordinary. They blend genres, I can hear Latin and punk elements, which helped propel this track into the mainstream. I can also hear some Springsteen and even Mellencamp on some of their songs.

This was on their debut album Cabretta. It peaked at #186 on the Billboard Album charts. The song Spanish Stroll peaked at #20 in the UK in 1977. The song was written by the lead singer Willy DeVille.

I learned a lot by reading Paul’s reviews of their albums on his site. He has a wide variety of album reviews to look at…and that is an understatement.

Bob Dylan on how Willy DeVille should be in the Hall of Fame: “(DeVille) stood out, his voice and presentation ought to have gotten him in there by now.”

Peter Wolf:  “He had all the roots of music that I love and had this whole street thing of R&B – just the whole gestalt … He was just a tremendous talent; a true artist in the sense that he never compromised. He had a special vision and remained true to it.”

Willy DeVille: “We were sitting around talking of names, and some of them were really rude, and I was saying, guys we can’t do that. Then one of the guys said how about Mink DeVille? There can’t be anything cooler than a fur lined Cadillac can there? “What could be more pimp than a mink Cadillac? In an impressionistic sort of way.” 

Piano player Kenny Margolis:  “I don’t think the American public had a chance to experience him because in America at that time you had MTV telling you what to like. Europe had not had MTV at that point and they were very open to different music.”

Spanish Stroll

Hey Mr. Jim I can see the shape you’re in
Finger on your eyebrow
And left hand on your hip
Thinking that you’re such a lady killer
Think you’re so slick!
Alright

Brother Johnny, he caught a plane and he got on it
Now he’s a razor in the wind
And he got a pistol in his pocket
They say the man is crazy on the West Coast
Lord there ain’t no doubt about it!
Well allright

Sister Sue tell me baby what are we gonna do
She said take two candles,
And then you burn them out
Make a paper boat,light it and…. send it out
send it out now..

Spanish Stroll
Spanish Stroll
Spanish Stroll

Hey Rosita! Donde vas con mi carro Rosita?
tu sabes que te quiero
pero ti me quitas todo
ya te robasta mi television y mi radio
y ahora quiere llevarse mi carro
no me haga asi, rosita
ven aqui
ehi, estese aqui al lado rosita
Spanish Stroll

Mira aqui!

Hey Johny! Yeah, tenth street Johny
We’ve been looking for you man
Everybody told me you had moved uptown
Hey! you wanna go for a ride
I’m going uptown myself
For what?

Yeah, ain’t it right?
Yeah, one time for Tito Puente, one time
Are you ready?
Yeah, of course we cannot leave out, Mr Ray Baretto
Are you ready?Are you ready?Are you ready?

Five of my Favorite Country Songs

The good thing about Star Trek being over is…I can start posting a couple of music things on Saturday and Sunday.

I grew up near Nashville so it did leave its imprint on me but I don’t listen to modern country music. I do include some songs that are more country/rock but they fit what I like. They are in no particular order…well my favorite admittedly is the top one.

Hope you enjoy the small sample platter of country songs.

This song is my favorite of the Flying Burrito Brothers. It came off their great  album The Gilded Palace of Sin It didn’t chart at the time. Parsons wrote this song with Burrito bass player Chris Ethridge while the band was living in their San Fernando Valley house that was dubbed “Burrito Manor.”

Merle Haggard was a constant on the radio here with my parents. He wrote so many classic songs and this is one of them…Mama Tried.

Merle Haggard wrote this song while serving time in San Quentin prison for robbery. The song is based on his life, and how his mother tried to help him but couldn’t… Mama Tried came out in 1968 and peaked at #1 on the Country Charts and #1 in the Canada Country Charts in 1968.

The man had 38 number-one hits, 71 top-ten hits, and 101 songs in the top 100 in the country charts. Merle is one of my favorite country artists. If only the new ones would listen and learn.

Hank Williams is one of my favorite country artists. He could write songs of great quality but the ironic thing is…this one is one of the few he didn’t write. His nickname…The Hillbilly Shakespeare is true to form. Hank Williams released this song in 1949 and it peaked at #12 on the Country Charts. It was written by Leon Payne.

Loretta Lynn is my favorite female country singer with apologies to Dolly Parton. This is a song that she did with Jack White called Portland Oregon. If the modern country was like this…I would listen. Their voices go really well with each other.  Country radio would not play it but the album still peaked at #2 on the Country Charts and #24 on the Billboard Album Charts and #1 on the UK Country Charts in 2004.

They didn’t win any country music awards but came away with two Grammys.

I love the build-up to this song…Jack White builds this up and Loretta starts singing around 1:40.

Now to finish it out with 5 songs…I thought I would add Dwight Yoakam who was inspired by Buck Owen’s Bakersville Sound. The song peaked at #2 on the Billboard Country Charts and at #3 in Canada in 1993. It was written by Yoakam and produced by Pete Anderson.

The song was on Dwight’s album This Time. The album peaked at #4 in the Billboard Country Album Charts, #1 in the Canada RPM Album Charts, and #25 in the Billboard Album Charts.

Stevie Wonder – You Are The Sunshine Of My Life

You are the sunshine of my lifeThat’s why I’ll always be around

Stevie Wonder… had such a long career before he was even 18. He wrote this for his wife Syreeta Wright whom Wonder married in 1970.

Stevie Wondewr and Syreeta Wright

Wright was from Detroit, an aspiring ballet dancer who didn’t have the money to pursue her passion and who ended up working as a receptionist at Motown in 1965. Eventually, Wright started singing on demos for Motown singers, and the label released a single of hers in 1968 under the name Rita Wright. When Diana Ross left the Supremes, Berry Gordy thought about installing Wright as her replacement but it didn’t happen.

in 1968 Syreeta Wright met Stevie Wonder. In 1969, they started dating, and they also started working together. In 1970, they got married, when Wright was 24 and Wonder was 20. By that time, they were already writing partners. Together, Wright and Wonder helped write the Spinners’ “It’s A Shame”  and Wonder’s own “Signed, Sealed, Delivered I’m Yours”

In 1972 they broke up. Wonder also produced the album Syreeta…Wright’s first album. He also recorded this song that year. It was no doubt who it was about. It was on the great album Talking Book. Just as he was singing this beautiful song they were breaking up. She would go on to record more music and one song with Billy Preston. She passed away in 2004 at the age of 58.

You Are the Sunshine of My Life (Live @ the White House) - Stevie Wonder -  YouTube

Some sources list the couple’s divorce as happening in 1972, but Wright, who died in 2004, claimed they were married until 1975. The marriage was difficult and exacerbated by their working relationship, which Wright found stifling. “I was always living in his shadow.

He recorded this at Electric Lady Studios in New York City. It was recorded off the cuff and his band fell right in. The album Talking Book peaked at #3 on the Billboard Album Charts, #12 in Canada,#16 in the UK in 1972.

You Are The Sunshine Of My Life peaked at #1 in the Billboard 100, #5 in Canada, #8 in New Zealand, and #7 in the UK. The first single off the album was Superstition…how is this for a follow-up!

This song won Wonder the 1973 Grammy Award for Best Male Pop Vocal Performance.

You Are The Sunshine Of My Life

You are the sunshine of my lifeThat’s why I’ll always be aroundYou are the apple of my eyeForever you’ll stay in my heart

I feel like this is the beginningThough I’ve loved you for a million yearsAnd if I thought our love was endingI’d find myself drowning in my own tears, whoa, oh, oh

You are the sunshine of my life, yeahThat’s why I’ll always stay around, mmm, mmm, yeah, yeahYou are the apple of my eyeForever you’ll stay in my heart

You must have known that I was lonelyBecause you came to my rescueAnd I know that this must be heavenHow could so much love be inside of you?Whoa, whoa

You are the sunshine of my life, yeahThat’s why I’ll always stay around, mmm (baby)You are the apple of my eyeForever you’ll stay in my heart, yeah

You are the sunshine of my life, babyThat’s why I’ll always stay around

Southside Johnny and the Asbury Jukes – Hearts of Stone

A strong New York sound with a song written by Bruce Springsteen. Southside Johnny did some incredible vocals on this one. The album songs were written by Southside Johnny (Johnny Lyon), Bruce Springsteen, and Steven Van Zandt.

Southside Johnny - Hearts of Stone

It’s a downright beautiful ballad and the vocals are about as good as it gets. This song is off his third studio album Hearts Of Stone released in 1978. Critics have called it “the best album that Bruce Springsteen never recorded.” Some also have compared it to Exile On Main Street. Steven Van Zandt produced and arranged this album.

Springsteen recorded this song during his Darkness on the Edge of Town sessions in 1977. He gave this song and Talk To Me it to Southside Johnny and Bruce didn’t end up releasing it until 1998. Springsteen also shares writing credits with Southside Johnny and Steven Van Zandt on Trapped Again which was co-written in early 1978 during the Hearts Of Stone recording sessions.

Van Zandt tapped photographer Frank Stefanko to shoot the album cover art, after meeting Stefanko when they worked together with Springsteen on Darkness On The Edge Of Town.

This album could have been huge because his record company Epic got fully behind it but then the tour got cut short. Southside Johnny: “I had cut my arm on a glass during a show in Sacramento. I was supposed to be off the road for three months at least and we were back on the road in two weeks. We had a huge tour booked. We were going to be gone for a year. The record company had actually started to get into it, but as soon as I got hurt and was off the road, they kind of said ‘That’s that’ and moved on to other things. It was bitter for me then, but over time you learn that’s just the way this business is.”

The album peaked at #112 on the Billboard Album Charts in 1978. E Street drummer Max Weinberg played on this album along with The Miami Horns.

Hearts of Stone

You stare in the mirror at the lines in your faceAnd you try so hard to see, girlThe way things were when we were at your placeEveryday was just you and me, girlAnd you cry because things ain’t like beforeWell, don’t you know it can’t be that way anymore?But don’t worry baby

I can’t talk now, I’m not aloneSo put your ear close to the phoneCause this is the last dance, the last chanceFor hearts of stone

If there was something, baby, that I could doSomething that would last, honey, I wouldBut you should know better than to think that youCan return to the pastSo close your eyes and I’ll be thereHold you once more, not go anywhereI wish I could, babe

But I can’t talk now, I’m not aloneSo put your ear close to the phoneCause this is the last dance, the last chanceFor hearts of stone

And you cry because things get so strange so fastAnd you cry because nothing good ever lastsWell, I know babeYes, I know, babe

But I can’t talk now, I’m not aloneSo put your ear close to the phone‘Cause this is the last dance, the last chanceFor hearts of stone

This is the last dance, the last chanceFor hearts of stone

Band – The W.S. Walcott Medicine Show

Gonna see Miss Brer Foxhole
Bright diamonds at her teeth
She is pure gold down underneath

I’ve talked about it before…a title can draw a person in a song. This one begs to be listened to. Sometimes they don’t live up to the title but this one does. Although Robbie Robertson wrote this, Levon Helm’s vocals brought this piece of Americana to life. He owns this song. He grew up near Helena, Arkansas, and heard stories of traveling Medicine Shows coming in and out of town. When he was a kid he got to see some of these shows. Robertson later translated that into this song.

Helena, Arkansas was the home of the King Biscuit Time radio show. It debuted in 1941. Performers such as  Sonny Boy Williamson II would be on the show. The show was the thing that really crystallized blues music in that area. It is said that Muddy Waters and B.B. King would come home from working in the fields every day just to listen to the King Biscuit hour.

This song was on their 3rd album Stage Fright. By this time, Robertson was having trouble writing songs. The brotherhood they all shared was getting complicated because of outside influences. Robertson also had a baby daughter and pregnant wife at home. The songs were great though.

Stage Fright peaked at #5 on the Billboard Album Charts, #6 in Canada, and #15 in the UK in 1970. The album has some of my favorite songs by the Band on it. The Shape I’m In, Stage Fright, and this one.

Robbie Robertson: I wrote about a traveling medicine show I had heard Levon speak of years earlier, something between a carnival sideshow and the African American origins of rock and roll. We recorded “The W. S. Walcott Medicine Show” and another take of “Daniel and the Sacred Harp” with Todd at a studio in the city, and these turned out to be a couple of our favorite tracks. That put the finishing touches on what we could pull out of the hat for this record. I was worn out from this process and trying to maintain a stable family life with my baby daughter and pregnant wife.

The W.S. Walcott Medicine Show

When your arms are empty, got nowhere to go
Come on out and catch the show
There’ll be saints and sinners
You’ll see losers and winners

All kinds of people you might want to know
Once you get it, you can’t forget it
W.S. Walcott medicine show

You know he always holds it in a tent
And if you’re looking for the real thing
He can show you where it went

There’s a young faith healer, he’s a woman stealer
He will cure by his command
When the music’s hot then you might have to stand

To hear the Klondike Klu Klux Steamboat Band
Don’t you sweat it, you can’t forget it
W.S. Walcott medicine show

I’d rather die happy than not die at all
For a man is a fool who will not heed the call

Gonna see Miss Brer Foxhole
Bright diamonds at her teeth
She is pure gold down underneath

She’s a rock and roll singer and a true dead ringer
For something like you ain’t never seen
Once you get it, you can’t forget it
W.S. Walcott medicine show
W.S. Walcott medicine show
W.S. Walcott medicine show

Leon Russell – Stranger in a Strange Land

I heard this song on the show House MD not long ago and it stuck with me. I knew it was Leon Russell but I didn’t know a thing about it. Very good song all the way around. Movies and TV Shows are a good way to pick up new and old songs that you don’t know.

It’s hard to resist Leon Russell’s music. His song Tight Rope was one of the first songs I remember in my life.  His real name was Claude Russell Bridges. He was born in Oklahoma and in high school he worked with future Bread singer-songwriter David Gates.

Leon did a lot before the public ever heard of him. He was part of the Wrecking Crew who played on Beach Boy records and hits like This Diamond Ring for Gary Lewis. Most major players in the seventies wanted Leon Russell on their albums. After George Harrison invited him to play with him a short while later Mick Jagger worked with him. He was a popular man among the British elite rock stars.

The song was on the album Leon Russell and the Shelter People released in 1971. The album peaked at #17 on the Billboard Album Charts, #29 in The UK, and #14 in Canada. The song was not released as a single.

Elton John helped bring Leon Russell back into prominence in 2010 through a successful album. He worked up until his death on November 13, 2016. He had already planned a tour starting in January 2017.

Stranger in a Strange Land

How many days has it been
Since I was born
How many days until I die
Do I know any ways
That I can make you laugh
Or do I only know how to make you cry

When the baby looks around him
It’s such a sight to see
He shares a simple secret
With the wise man

He’s a stranger in a strange land
Just a stranger in a strange land
Tell me why
He’s a stranger in a strange land
Just a stranger in a strange land

How many miles will it take
To see the sun
And how many years until it’s done
Kiss my confusion away in the night
Lay by side when the morning comes

And the baby looks around him
And shares his bed of hay
With the burro in the palace of the king

He’s a stranger in a strange land
Tell me why
He’s a stranger in a strange land
Just a stranger in a strange land

Well, I don’t exactly know
What’s going on in the world today
Don’t know what there is to say
About the way the people are treating
Each other, not like brothers

Leaders take us far away from ecology
With mythology and astrology
Has got some words to say
About the way we live today
Why can’t we learn to love each other
It’s time to turn a new face
To the whole world wide human race

Stop the money chase
Lay back, relax
Get back on the human track
Stop racing toward oblivion
Oh, such a sad, sad state we’re in
And that’s a thing

Do you recognize the bells of truth
When you hear them ring
Won’t you stop and listen
To the children sing
Won’t you come on and sing it children

He’s a stranger in a strange land
Just a stranger in a strange land

Garland Jeffreys …a New York Original

CB (Cincinnati Babyhead) and I have got together again and worked on this post. When CB sent me the link to “Wild In The Streets” I was sold, hooked, and happy. The more I listened to Jeffreys music the more it affected me like Bruce Springsteen and Van Morrison did when I first heard them. Jeffreys’ music found a spot in me where Morrison and Springsteen lives. It’s deep, sprawling, and meaningful. Not many artists affect me like this. Like Big Star, The Replacements, and others…this man should be known to more people.

This post is a sample platter…I kept it relatively short so you can enjoy the songs. I’ll be covering more Garland Jeffreys coming up in the next few weeks to give more information rather than cramming everything in one post.

Jeffreys is a Brooklyn, N.Y.-born singer/songwriter who has released 15 studio albums in his 53-year career. His mixed heritage Puerto Rican and African-American is mirrored in his music, which embraces rock, soul, R&B, and reggae.  He began his career performing solo in Manhattan clubs in 1966 after attending college at Syracuse University as an art major, where he became friends with Lou Reed. He then spent some time in Italy studying art before he came back to further his education at New York’s Institute of Fine Arts.

In 1969 he formed a band called Grinder’s Switch, they released just one album Garland Jeffreys & Grinder’s Switch. Members of that band played on the debut album of John Cale of the Velvet Underground. Jeffreys wrote a song for the album called Fairweather Friend and did backup vocals for it. In 1973 he released his first album entitled Garland Jeffreys.

Garland and Bruce

Springsteen opened for Jeffreys at the Cafe Au Go Go back in 1972. They’ve stayed in touch ever since. Jeffreys appears on Light of Day, a great Springsteen tribute album, performing “Streets of Philadelphia” with just as much emotion as its author. He was friends with peers like Lou Reed, Bob Marley, John Lennon, and Joe Strummer, explored in both original songs (“Reggae on Broadway”) and a pair of choice covers (“I’m Waiting for the Man,” “Help”).

One thing I found is he really connected with baseball. His album One Eyed Jack has him on the front cover when he was a young kid in a baseball uniform and his childhood idol Jackie Robinson was on the back. Some of his credits list baseball players from Bobby Bonds to Brian Doyle.

Let us start off with the first song that CB sent me that won me over within a few seconds. It’s as New York as Martin Scorsese, Springsteen, The Yankees, The Statue of Liberty, and subways. It was released in 1973 as a single and was included in the 1977 album Ghost Writer… it is called Wild In The Streets. It’s naked, raw, and genuine…just like Jeffreys.

35 Millimeter Dreams is a song off of the 1977 album Ghost Writer. This one is catchy and it’s too bad it didn’t catch on when released as a single.

Hail Hail Rock and Roll…CB did a take on Hail Hail Rock and Roll. Some of his take: A little tribute to Rock n Roll by one of the best guys out there.  This song gets into your blood.  Garland knows his stuff.  CB has been thinking about this rock and roll thing lately.  All the music and pioneers that have contributed to this thing he loves so much.  This song more than touches on a lot of those thoughts and feelings.

It was released in 1983 on the album Don’t Call Me Buckwheat.

Roller Coaster Town was released in 2011 on the album The King Of In Between. The album made numerous annual Best Of lists with NPR naming it a “best of the year so far”  and Rolling Stone calling it one of the Best Under The Radar Albums of 2011.

City Kids is off the American Boy and Girl album released in 1979. Here is what CB says about the album: “This is NY music from Jeffrey’s experience. He’s lived it. Another one of those “How come artists that never made it bigger?” He is a NY poet. Songs got into me, moved me. What can I say? Springsteen’s ‘Wild Innocent’ vibe. This is his world like Scorsese’s. Close to the streets. When he sings ‘City Kids’ I’m gone with him. Sends a few shivers. Love the feel. Cousin to ”Jungleland’ by Bruce. ‘Matador’ is just beautiful. Sung in his distinctive voice. Hit the romantic side of CB.”

Graham Parker – Local Girls

I posted a Graham Parker album (Howlin’ Wind) a while back and it was the first time I’d heard it. This song…as soon as I heard it I remembered it. I remember MTV and Fridays playing this video in the 1980s.

Graham Parker - Squeezing Out Sparks

This was on the album Squeezing Out Sparks released in 1979. The album peaked at #18 in the UK, #79 in Canada, and #40 on the Billboard 100. Parker had just left Mercury Records and this was his debut on Arista Records.

I’ve listened to Squeezing Out Sparks and there is not a weak song on the album. Parker had felt like Rumour had overplayed on his albums to this point. He told them they need to play like they were in a studio and not live. After that… once they were clicking, it only took 11 days to complete the album.

This album didn’t include horns that were on his albums up to this point. It was a no-frills approach that made it arguably his finest album. This song has everything you want. Smart writing, catchy hook, and Parker’s voice is on point.

Normally, Parker named his albums after song titles, although this time he toyed with calling it “The Basingstoke Canal” after a waterway connecting to the Thames River, about 30 miles from where he was born in the London area of Hackney…but he woke up one morning with a song on the album called You Can’t Be Too Strong going through his head with the lyric “I know it gets dark down by Luna Park/But everybody else is squeezing out a spark/That happened in the heat, somewhere in the dark.”

Graham Parker: “‘Local Girls,’ of course, refers to the girls in my/your hometown, not the girls in someone else’s town. … The idea for ‘Local’ is from remembering what it was like to be a boy at home, looking out the window, seeing a rather toothsome piece stroll by, nose in the air perhaps, down the quiet semi-detached suburban street, and knowing that she probably already (at 13/14 years of age) fancies herself as an army wife (I grew up next door to an army camp and the squaddies were always stealing the girlfolk) and is going to look upon your feeble advances with some disdain. It’s a fairly typical the-object-of-ones-desire-is-always-out-of-reach-type song, just about 30 times better and more pregnant with meaning/detail than pretty much anyone else on the planet could even begin to aspire to, is all”

Graham Parker:  “It wasn’t until I’d done all my Hippie traveling and being a freak and all that, and got back and lived with my parents and started to absorb all influence of my earlier years. I just pushed myself out in the world, got to London and met the right people, including Dave Robinson, who became my manager. He put the band the Rumour around me. So that was basically the beginnings of my career. I was just basically what I consider to be a successful singer/songwriter/musician by the time I came to write Squeezing Out Sparks. It was very inspired times for me, and that’s what resulted in that album.”

Local Girls

Sit by my window and look outside, wonder why the sun don’t shine on me
What’s wrong with you, you stupid child, don’t you think that I’m the one
You’re waiting to see?
Don’t talk too much ’cause she falls for the suckers, makes her feel
Everything is secure
Don’t ever leave a footprint on the floor

Don’t bother with the local girls, don’t bother with the local girls
They don’t bother me

She’s probably half-wit, she must be straight,
Or bound to have a mother who knows nothing but hate
Don’t want to love her, I’d rather knock her down
Standing at the bus stop where she waits each morning
So isolated that she thinks that the army is the place where a man ought to be
Don’t bother with them, they don’t bother me

Don’t bother with the local girls, don’t bother with the local girls
They don’t bother me

They got the walk, they got the talk, right down without a flaw
At 6:00 I got to stop my dreaming at the counter of the store

Don’t bother with the local girls, don’t bother with the local girls
They don’t bother me

Without a doubt I got to intercept, must be time someone ran and shouted in
Their head
You look all right in the cheap print dress,
But every time you swish it ’round you make me disappear
I’m aware of exactly what I’m doing, making everything a mystery
Don’t bother with it, it don’t bother me