Grateful Dead – Uncle John’s Band

There are songs like Itchycoo Park, Can’t Find My Way Back Home, and this one that transports me back to a time that I’m too young to remember… but these songs make me feel like I was there.

Jerry Garcia and Robert Hunter collaborated on “Uncle John’s Band,” which was originally part of their stage set before they recorded it as a single track from their Workingman’s Dead album. It would go on to become one of their better-known songs

It’s possible that this song is about a string band called the New Lost City Ramblers (NLCR), whose John Cohen was nicknamed “Uncle John.”

For two albums the Dead tried a more roots Americana type of music that may have been inspired by the then-new Crosby, Stills, and Nash. Workingman’s Dead and American Beauty. Personally, they are my favorite albums by them though I do like some others like From The Mars Hotel. 

The song peaked at #69 in the Billboard 100. If you want to read more info on the Dead…go to https://jimadamsauthordotcom.wordpress.com/2020/04/08/g-is-for-grateful-dead/ 

Jim has over 30 Dead concerts in his past.

From Songfacts
The style is a laid-back bluegrass-folk arrangement on acoustic guitar. Vocals are in close harmony in a conscious effort to echo Cosby Stills & Nash – it worked, because CS&N covered it on their 2009 concert circuit.

Lots of Americana to touch on here – this was the first time the epithet “God Damn” had been heard in a Hot 100 hit. A “buckdancer” is “one who dances the buck-and-wing” according to The Dictionary of American Regional English. The phrase “buckdancer’s choice” is both a popular fiddle tune of Appalachia, and the title of a poetry collection by the American poet James Dickey; you’ll recognize him more when we tell you that one of his other works was turned into a little 1972 film called Deliverance.

More Americana: the line “fire and ice” references American poet Robert Frost’s poem of the same name, and the line “Don’t tread on me” is a famous phrase that first came out during the American Revolution from Britain – scope out an image of a yellow flag with a coiled, hissing snake sometime, that’s the “Gadsden flag,” later popular with the American Tea Party political movement. The line “the same story the crow told me” references Johnny Horton’s “The Same Old Tale the Crow Told Me,” which was the B-side to the better-known “Sink the Bismarck.” While that’s a British song, Horton was very much an American rockabilly artist (and he has no relation to the Horton who hears a who).

OK, who is Uncle John? That could be anybody and everybody – fan speculations run wild from the Biblical John the Baptist to Mississippi John Hurt. But maybe, like the Beatles’ Sergeant Pepper, it was just an alias made up for fun.

This was one of the Dead’s first attempts to reach beyond their little cult and take a shot at the mainstream. The single release was cut by 25 seconds from the album version. Although this plan didn’t work out with the single scoring a lukewarm #69, the album itself went on to sell well at one million copies – a first for them – and “Uncle John’s Band” became one of their more well-known songs.

Uncle John’s Band

Well the first days are the hardest days, don’t you worry any more
‘Cause when life looks like easy street, there is danger at your door
Think this through with me, let me know your mind
Wo, oh, what I want to know, is are you kind

It’s a buck dancer’s choice my friend; better take my advice
You know all the rules by now and the fire from the ice
Will you come with me? won’t you come with me
Wo, oh, what I want to know, will you come with me

Goddamn, well I declare, have you seen the like
Their wall are built of cannonballs, their motto is don’t tread on me
Come hear uncle John’s band playing to the tide
Come with me, or go alone, he’s come to take his children home

It’s the same story the crow told me; it’s the only one he knows
Like the morning sun you come and like the wind you go
Ain’t no time to hate, barely time to wait
Wo, oh, what I want to know, where does the time go

I live in a silver mine and I call it beggar’s tomb
I got me a violin and I beg you call the tune
Anybody’s choice, I can hear your voice
Wo, oh, what I want to know, how does the song go

Come hear uncle John’s band by the riverside
Got some things to talk about, here beside the rising tide

Come hear uncle John’s band playing to the tide
Come on along, or go alone, he’s come to take his children home
Wo, oh, what I want to know, how does the song go

Marshall Tucker Band – Can’t You See

“Gonna buy me a ticket now, as far as I can, ain’t never comin’ back
Take me Southbound, all the way to Georgia now, till the train run out of track”

A song that most garage bands can and do play at least once. A simple D-C-G and you are off to the races with this classic song. I was re-introduced it with the movie Blow. “”Till the train run out of track” is a great line.

This song has grown on me through the years. It’s simple, effective, and to the point. “That woman” left the singer high and dry.

There is no Marshall Tucker in The Marshall Tucker Band. The name refers to a blind piano tuner from Columbia, South Carolina. They saw the name on a door key where they used to rehearse and decided it would make a good name for their band.

This song was written by lead guitarist Toy Caldwell.

The mix between the flute (Not a southern rock standard) at the beginning with Caldwell’s great guitar licks along with his powerful singing sets this song off.

The song only peaked at #108 in the Billboard 100 in 1973 but was reissued in 1977 and peaked at #75 in Billboard and #39 in Canada…and has remained a classic radio staple.

 

From Songfacts

This became the anthem song for The Marshall Tucker Band, similar to “Free Bird” for Lynyrd Skynyrd. It was never a Top 40 hit, but was very popular on Album Oriented Radio (AOR) and continues to get a lot of airplay on Classic Rock stations.

The open in unusual – it starts with the picking of a guitar and the playing of a flute. Jerry Eubanks of the Marshall Tucker Band played the flute, giving the song a very distinctive sound – it’s not a common instrument in the world of Southern Rock.

The song was named the #1 greatest Southern Rock song ever recorded by Ultimate Classic Rock with Sweet Home Alabama as runner-up.

Said the site, “Next time you hear this song in public, take notice and you’ll make the strangest observation, especially if there is booze involved. There seems to be something about this particular song that makes the majority (very ironically) close their eyes and sway their head from left to right while singing the song’s famous ‘Can’t you see’ line. That universal connection earns this song the top spot on our Southern Rock songs list.”

Can’t You See

I’m gonna take a freight train, down at the station
I don’t care where it goes
Gonna climb me a mountain, the highest mountain, Lord,
Gonna jump off, nobody gonna know

Can’t you see, can’t you see, what that woman, she been doin’ to me
Can’t you see, can’t you see, what that woman been doin’ to me

I’m gonna find me a hole in the wall, gonna crawl inside and die
That lady, mean ol’ woman Lord, never told me goodbye

Can’t you see, can’t you see, what that woman she been doin’ to me
Can’t you see, can’t you see, what that woman been doin’ to me

Gonna buy me a ticket now, as far as I can, ain’t never comin’ back
Take me Southbound, all the way to Georgia now, till the train run out of track

Can’t you see, can’t you see, what that woman, she been doin’ to me
Can’t you see, can’t you see, what that woman been doin’ to me

Bewitched

“Oh My Stars”          1964-1972

I binged watched Bewitched during the lockdown and some afterward. The first five seasons were probably the best. Having the lovely Samantha (Elizabeth Montgomery) as a wife who could twitch her nose and whip up anything you desired…doesn’t sound half bad…therefore… I never understood Darrin…either Darrin.

Bewitched was full of funny characters. Mr and Mrs Kravitz next door. Uncle Arthur (the great Paul Lynne), Aunt Clara, Maurice, Endora, and a cast of witches and warlocks. The show stuck the characters with the same actors/actresses for the most part. The continuity was pretty good in this show with one big exception…the two Darrins. More on that in a few.

The show was about a mortal (Darrin Stevens) that married a witch (Samantha Stevens) and Darrin does not like Samantha to use her powers. Endora the mother-in-law was a witch that played the stereotypical mother-in-law but one that could Darrin into a horse if she so pleased.

One of my favorites was Aunt Clara played perfectly by Marion Lorne. The character Aunt Clara collected doorknobs. The writers did that because Marion Lorne actually collected doorknobs from everywhere… The producers of the show would ask to borrow one if they wanted one for a different look for the show. 

Aunt Clara | Of Mice and Men Wiki | Fandom

A funny story about Marion Lorne is that she once called Elizabeth Montgomery and said, with her trademark stammer, to come to her hotel residence right away as she seemed to have actual magical powers like her character. Every time she clapped her hands, her TV set would change the channel. What Marion didn’t know was that the bracelets on each of her arms made contact when she clapped her hands, and the sound was the same as a remote control, which operated as tuning forks in those days. Montgomery never told her this.

The two Darrins. The first Darrin was Dick York. The second Darrin was Dick Sargent.

Pin on Hollywood Portraits: Male

Dick York had severe back problems and a pain pill addiction. He was on for almost 5 full seasons. He came down with a fever during the last part of the 5th season and collapsed on an episode. He entered the hospital and never came back to the show. His career essentially ended then.

The next season Dick Sargent took over with no explanation to the audience. Sargent was never as popular with the audience and the ratings soon dropped. The show lasted 8 total seasons before ending in 1972.

On December 6 Agnes Moorehead was born… | Today In PopAgnes Moorehead | American actress | Britannica

It’s a fun show to watch and it had some great actors and actress that would show up. Agnes Moorehead who played Endora was part of the Mercury Theatre with Orson Welles.

Bewitched had some really good effects for the time. I grew up on this show in syndication.

 

 

https://www.imdb.com/title/tt0057733/

 

Fleetwood Mac – Over My Head

This was the first single off the Fleetwood Mac album released in 1975. This was the first Fleetwood Mac album with newcomers Lindsey Buckingham and Stevie Nicks.

McVie has said that she composed the song using a portable Hohner electric piano in Malibu, California, where she and then-husband John McVie lived after completing a concert tour to promote the previous album Heroes Are Hard to Find.

The song was written by Christie McVie and peaked at #20 in the Billboard 100 and #9 in Canada in 1976.

The single itself was edited…the fade-in intro that appeared on the album version was removed, and louder guitars were added in the chorus. It became their first song to reach the American charts since 1970s Oh Well.

Over My Head

You can take me to paradise,
And then again you can be cold as ice
I’m over my head,
But it sure feels nice.
You can take me anytime you like,
I’ll be around if you think you might love me baby,
And hold me tight.
Your mood is like a circus wheel,
You’re changing all the time,
Sometimes I can’t help but feel,
That I’m wasting all of my time.
Think I’m looking on the dark side,
But everyday you hurt my pride,
I’m over my head,
But it sure feels nice,
I’m over my head,
But it sure feels nice.

Creedence Clearwater Revival – Midnight Special

When I hear John’s voice and that tremolo on guitar I can feel the hairs on my neck rise. John’s voice was just as much of an instrument as his guitar.

In Alan Lomax’s book Folk Song USA, the Midnight Special was a real train… the Southern Pacific Golden Gate Limited. A traditional folk song, Leadbelly popularized it upon his release from Sugar Land prison in Texas, where he could hear the Midnight Special come through. In the song, the light of the train gives the inmates hope: if it shines on them they take it as a sign they will soon go free.

Midnight Special was on the album Willy and the Poorboys. The album peaked at #3 in the Billboard Album Charts. CCR’s version of Midnight Special didn’t chart. Only two versions of the song have reached the US Billboard Hot 100…one by Paul Evans in 1960 and Johnny Rivers in 1965.

 

The Midnight Special

Well, you wake up in the mornin’, you hear the work bell ring
And they march you to the table to see the same old thing
Ain’t no food upon the table, and no pork up in the pan
But you better not complain, boy, you get in trouble with the man

[Chorus:]
Let the Midnight Special shine a light on me
Let the Midnight Special shine a light on me
Let the Midnight Special shine a light on me
Let the Midnight Special shine a everlovin’ light on me

Yonder come miss Rosie, how in the world did you know?
By the way she wears her apron, and the clothes she wore
Umbrella on her shoulder, piece of paper in her hand
She come to see the gov’nor, she wants to free her man

[Chorus]

If you’re ever in Houston, well, you better do the right
You better not gamble, there, you better not fight, at all
Or the sheriff will grab ya and the boys will bring you down
The next thing you know, boy, Oh! You’re prison bound

John Lennon – Slippin’ and Slidin’ 1975

Sorry if you have seen this twice but it only posted for a second and then vanished.

I usually feature originals but I found this video of John covering Slippin and a Slidin’ that I never have seen before and I had to include it. My son listened to John Lennon’s Rock and Roll album (made up of entirely covers of mostly 50s Rock and Roll) and he flipped over it. Afterward, he played it so much I relistened to it and John’s love of that music really came through.

The song was on the Rock and Roll album released in 1975. I could listen to John sing the phone book.

The album made it to #6 in the Billboard 200, #6 in the UK, and #5 in Canada. Stand By Me made it to #20 in the Billboard 100. John Lennon did not make another album until Double Fantasy in 1980.

 

Slippin’ and Slidin’

Slippin’ and a slidin’, peepin’ and a hidin’, been told long time ago,
Slippin’ and a slidin’, peepin’ and a hidin’, been told long time ago,
I been told, baby, you been bold, I won’t be your fool no more.

Oh, big conniver, nothing but a jiver, done got hip to your jive,
Oh, big conniver, nothing but a jiver, done got hip to your jive,
Slippin’ and a slidin’, peepin’ and a hidin’, won’t be your fool no more.

Oh Malinda, she’s a solid sender, you know you better surrender,
Oh Malinda, she’s a solid sender, you know you better surrender,
Slippin’ and a slidin’, peepin’ and a hidin’, won’t be your fool no more.

My 10 Favorite Powerpop Songs

As you may have guessed by now I’m an extreme fan of power pop. This list was hard to write…I kept changing most of it… but I knew the top choice and worked from there.

I just gave my self ten choices or I would have gone on and on. A lot of artists and their songs were left off…such as Todd Rundgren, The Cars, Sloan, The Lemon Twigs, The Flamin’ Groovies, The Shivvers, The Jayhawks,  and too many more to mention.

10. The Ride – Twisterella– 1992 – I found this a few months back and have been listening to it ever since.

9. The Records – Starry Eyes– 1979 – Great song. Starry Eyes would end up being The Record’s best-known song. Robert John “Mutt” Lange produced their debut album for The Records.

8. The La’s – There She Goes– 1990 – A very good power pop song that has no verses…It just repeats the chorus four different ways four different times…but that doesn’t matter.

7. Cheap Trick – Voices– 1980 – One of my top Cheap Trick songs. Robin Zanders voice sounds great in this Beatlesque song.

6. The Who –Pictures of Lily– 1967 –  When this song came out Pete Townshend coined the name “power pop” and this song is about the childhood…lusts…of a boy.

5. Raspberries – Overnight Sensation (Hit Record)– 1974 – An epic song by the Raspberries. Not their most popular…that would be “Go All The Way” but this encapsulates everything power pop is about. Bruce Springsteen on Overnight Sensation: It’s one of the best little pop symphonies you’ll ever hear.

4. Big Star – The Ballad of El Goodo – 1972 – The tone of the guitars, harmonies and the perfect constructed chorus keeps me coming back listen after listen.

3. Badfinger –No Matter What– 1971 – The only band to make this list twice. Why? because this song defines the crunchy power pop of bands like Cheap Trick to come.

 2. Tom Petty – American Girl– 1977 – The Rickenbacker, the hook, and a Byrds sounding track.

********************************************************************

  1. Badfinger – Baby Blue – 1972 – The number one song was the easiest decision of the list. The rest were changed a few times…this one for me is a no-brainer. This song is the perfect power pop song…strong vocals, Crunchy Brit  guitar, great hook,  and great melody

Lynyrd Skynyrd – What’s Your Name

I always thought this was one of the most commercial songs they ever released. It is a fun tight song but yes it has been played to death.

Ronnie Van Zant and Gary Rossington wrote this one night when they were in Miami with Steve Cropper and producer Tom Dowd. Cropper, the guitarist for the Stax Records band Booker T. & the MG’s, gave them some ideas.

They had a well-deserved reputation for being a hard-partying band. This song is based on a true story. One night while they were on tour, the band was drinking at their hotel bar when one of the roadies got in a fight. They all got kicked out, went to a room, ordered champagne, and continued the party.

The incident also really didn’t happen in Boise, Idaho. The first line was originally, “It’s 8 o’clock and boys it’s time to go,” but Ronnie Van Zant changed it when he found out his brother, Donnie, was opening his first national tour with his band .38 Special in Boise. The first line became It’s 8 o’clock in Boise, Idaho.

The song was on the album Street Survivors…their last studio album with the original band. They were in a plane crash just days after the release of the album.

The song peaked at #13 in the Billboard 100 and #6 in Canada in 1978.

Street Survivors peaked at #5 in the Billboard Album Charts in 1977.

From Songfacts

Three members of Lynyrd Skynyrd died in a plane crash just three days after this album was released. The album had to be given a new cover because the original one portrayed the group surrounded by flames.

This was released as a single in January 1978, a few months after the plane crash that killed Ronnie Van Zant, Steve Gaines, and Cassie Gaines.

The B-52s reached #74 in 1980 with “Private Idaho,” but “What’s Your Name” is the biggest hit song to mention the state in the lyric.

What’s Your Name

Well, its eight o’clock in Boise, Idaho
I’ll find my limo driver
Mister, take us to the show
I done made some plans for later on tonight
I’ll find a little queen
And I know I can treat her right

What’s your name, little girl?
What’s your name?
Shootin’ you straight, little girl?
Won’t you do the same?

Back at the hotel
Lord we got such a mess
It seems that one of the crew
Had a go with one of the guests, oh yes
Well, the police said we can’t drink in the bar, what a shame
Won’t you come upstairs girl
And have a drink of champagne

What’s your name, little girl?
What’s your name?
Shootin’ you straight, little girl?
For there ain’t no shame

What’s your name, little girl?
What’s your name?
Shootin’ you straight, little girl?
Won’t you do the same? Awh yeah

What’s your name, little girl?
What’s your name?
Shootin’ you straight, little girl?
Won’t you do the same?

Nine o’clock the next day
And I’m ready to go
I got six hundred miles to ride
To do one more show, oh no
Can I get you a taxi home
It sure was grand
When I come back here next year
I want to see you again

What was your name, little girl?
What’s your name?
Shootin’ you straight, little girl?
Well there ain’t no shame
What was your name, little girl?
What’s your name?
Shootin’ you straight, little girl?
Won’t you do the same? Woo

 

Allman Brothers – Dreams

According to Gregg, this was written in Los Angeles after the breakup of Hourglass, the band he and his brother Duane had there. They opened up for acts such as Buffalo Springfield and The Doors. They were then forced by the record company to play more pop-style music so Duane quit and headed back home to Macon Georgia.

Gregg stayed behind to fulfill the contract and a little later Duane called him up to come to Macon and try out for a new band he put together. Gregg traveled to Macon and sat behind the keyboard and played them his songs. This song won them over and they soon became the Allman Brothers.

This was on their first album The Allman Brother’s Band and it peaked at #188.

Gregg’s autobiography on first playing with the Brothers: They asked me if I had any songs with me, and I told them I had twenty-two, so they told me to play them. I’d get through with one, and they’d ask me, “What else you got?” I’d play ’em another one and they were like, “That was kinda neat, a little potential; what else you got?”

After twenty of them, I’m going, “Oh fuck, I might be without a job here in a minute.” I had two songs left—“Not My Cross to Bear” and “Dreams.” I showed them “Dreams” first, and let me tell you, they joined right in. We proceeded to sit down, learn that song the same way you hear it today, and I was in, brother. They loved it. I bet we played that thing eleven times in a row, and the more we played it, the better it got.

From Songfacts

Gregg Allman wrote this sorrowful song about unrealized dreams when he was living in Los Angeles. He left Georgia to get his music career going there, and wrote a bunch of songs before returning and forming The Allman Brothers Band with his brother Duane. This was the song that won over his bandmates. Allman wrote in his 2012 biography: “I showed them ‘Dreams,’ and let me tell you, they joined right in. We learned that song the way you hear it today, and I was in, brother.”

Listen to the guitar part – you’ll hear Duane Allman switch to bottleneck guitar midway through the song.

“Dreams” was used as the title of The Allman Brothers 1989 5-album boxed set. An unreleased studio version of this song was used on it.

Molly Hatchet released a version of this in 1978. 

This is one of the few songs Gregg Allman wrote on the Hammond B-3 organ.

Here is a live version at the Fillmore BUT someone didn’t plug the input in Gregg’s mic until a few minutes.

 

Dreams

Just one more mornin’
I had to wake up with the blues
Pulled myself out of bed, yeah
Put on my walkin’ shoes
And went up on the mountain
To see what I could see
The whole world was fallin’, right down in front of me

‘Cause I’ve a hunger for the dreams I’ll never see, yeah, baby
Ah, help me baby, or this will surely be the end of me, yeah

Pull myself together
Put on a new face
Climb down off the hilltop, baby
Get back in the race

‘Cause I’ve a hunger for dreams I’ll never see, yeah, babe
Lord, help me baby, or, this will surely be the end of me, yeah

Pull myself together
Put on a new face
Climb down off the hilltop, baby
And get back in the race

‘Cause I’ve a hunger for the dreams I’ll never see, yeah, baby
Ah, ah, help me baby, or this will surely be the end of me, yeah, ah
Yeah, yeah, yeah

Edgar Winter – Free Ride

It doesn’t get much more seventies than this song.

This was released as the first single from the album, but it went nowhere. After Frankenstein went to #1, “Free Ride” was released again, this time going to #14 in America. The song lived on as a radio favorite.

Dan Hartman is credited as the only songwriter on this track even though Edgar Winter made some contributions. Winter didn’t get greedy, knowing that Hartman made some contributions to tracks that were credited to Edgar alone.

Free Ride is a song included in the Edgar Winter Group album They Only Come Out At Night in 1972. The initial riff is played by Dan Hartman who also sings lead on the song.

 

From Songfacts

The “free ride” can be literally interpreted as a road trip, but it’s really about a spiritual journey. The song was written and sung by Dan Hartman, who had recently joined the Edgar Winter Group, but Winter added the lyrics:

We got to do better, it’s time to begin
You know all the answers must come from within

The song offers salvation of sorts, with Hartman offering us direction when we don’t know where to turn:

So I’ve come here to give you a hand
And lead you into the promised land

The song isn’t an endorsement of a specific religion, but a call to look inside ourselves for answers. Winter was trying to make that message more clear in the lyrics he added.

Edgar Winter played Woodstock before he even released an album. That’s because his older brother, Johnny Winter, was a celebrated blues guitarist who used Edgar in his band. When Edgar struck out on his own in 1970, it was with a horn-heavy band he assembled for his first album. His next two albums were with a group he called White Trash, which had more jazz leanings. In 1972, he started clean with a new band: the Edgar Winter Group. Dan Hartman, who was in a Pennsylvania band called the Legends, was his first recruit. Hartman had already written “Free Ride” (which is one of the reasons Winter wanted him), so it was one of the first songs this new group recorded.

Hartman played guitar on the album version of the song, with Randy Jo Hobbs on bass and Johnny Badanjek on drums (when the group fully formed, it was with Ronnie Montrose on guitar, Chuck Ruff on drums, and Hartman on bass). Speaking with Songfacts, producer Rick Derringer said that on the single version, which they recorded later, he played lead guitar.

Winter was adept at keyboard, synthesizer, saxophone and drums. On “Free Ride,” he played a Hohner clavinet, which is what Stevie Wonder played on Superstition. Winter generated the wind sounds with his new toy: an ARP 2600 synthesizer, the instrument featured on the album’s big hit, “Frankenstein.”

This was produced by Rick Derringer, who produced the entire They Only Come Out at Night as well as Winter’s previous two albums. When Ronnie Montrose formed his own band in 1973, Derringer stepped in as guitarist for the Edgar Winter Group.

Free Ride

The mountain is high, the valley is low
And you’re confused on which way to go
So I’ve come here to give you a hand
And lead you into the promised land, so

Come on and take a free ride (free ride)
Come on and stand here by my side
Come on and take a free ride

All over the country, I’ve seen it the same
Nobody’s winning at this kind of game
We gotta do better, it’s time to begin
You know all the answers must come from within, so

Come on and take a free ride (free ride)
Come on and stand here by my side
Come on and take a free ride

Yeah, yeah, yeah, yeah

Ooh, ooh, ooh
Ooh, ooh, ooh
Ooh, ooh, free ride

Come on and take a free ride
Yeah, yeah, yeah, yeah
Come on and take a free ride
Yeah, yeah, yeah, yeah

Come on and take a free ride
Yeah, yeah, yeah, yeah
Come on and take a free ride
Yeah, yeah, yeah, yeah

Come on and take a free ride
Yeah, yeah, yeah, yeah
Come on and take a free ride
Yeah, yeah, yeah, yeah

Lynyrd Skynyrd – I Know A Little

The reason I like this song is caught in the intro. The guitar in this is a lot of fun. Unlike most Lynyrd Skynyrd songs this one was not partly written by Ronnie Van Zant. The new guitar player Steve Gaines wrote this before he joined them.

Gaines replaced Ed King as the band’s guitarist in 1976, but died in the 1977 plane crash that also claimed the lives of lead singer Ronnie Van Zant and Gaines’ sister Cassie, who was a backup singer for the group. This song provides a glimpse of songwriting and guitar talent.

Steve Gaines was a special talent. I personally believe he would have gone far in music outside of that band. There is guitar playing on Street Survivors that you never heard with that band before. Very sophisticated chord patterns and riffs with songs like “I Never Dreamed.”

This song was the B side to What’s Your Name.

From Songfacts

You won’t find diatribes on the complexities of interpersonal relationships in the Skynyrd catalog, but you will find simple explanations. This song is a great example.

Why do people get the blues? From digging what they can’t use. And if you want to hold on to a man, a good way to do it is through commitment. You only need to know a little about love – the rest you can guess.

This is a great example of Skynyrd guitarist Steve Gaines’ contributions to the band. He wrote the song himself, and also wrote or co-wrote three other songs on the album. as Van Zant sings about a guy who has a strong feeling that his girl is cheating on him.

Skynyrd guitarist Gary Rossington told Guitar School magazine, July 1993, that he’d never heard anybody, including the current guitarists in the band, play the picking on this song quite right – the way Steve Gaines did.

This is one of many Skynyrd songs that was never released as a single but endured as a classic track in their catalog. It earned lots of airplay on Classic Rock radio and became one of their most popular live songs, performed at most of their shows when they re-grouped after the plane crash.

Steve Gaines recorded this before he joined Lynyrd Skynyrd.

I Know A Little

Yes sir

Well the bigger the city, well the brighter the lights
The bigger the dog, well the harder the bite
I don’t know where you been last night
But I think mama, you ain’t doin’ right

Say I know a little
I know a little about it
I know a little
I know a little ’bout it
I know a little ’bout love
And baby I can guess the rest

Well now I don’t read that daily news
‘Cause it ain’t hard to figure
Where people get the blues
They can’t dig what they can’t use
If they stick to themselves
They’d be much less abused

Say I know a little
Lord I do know a little about it
I know a little
I know a little ’bout it
I know a little ’bout love
Baby I can guess the rest
Play me a little, oh yeah
Yeah

Well if you want me to be your only man
Said listen up mama, teach you all I can
Do right baby, by your man
Don’t worry mama, teach you all I can

Say I know a little
Lord I do know a little about it
I know a little
I know a little ’bout it
I know a little ’bout love
Baby I can guess the rest
Well I know a little ’bout love
Baby I want your best

Happy Days influence on Pop Culture

I remember the phrases that were on the show and phrases that the show spawned after it went off the air…like “Jump The Shark” and the “Chuck Cunningham Syndrome” (more below on them)

I watched Happy Days as a kid and even got the theme as a single. The show first aired in 1974 and finally came to a halt in 1984. Ever since then it’s gone into syndication.

Happy Days was centered around Ritchie Cunningham (Ron Howard) and his friends and family but the Fonz (Henry Winkler) character soon eclipsed Ritchie. The show portrayed 1950s life as a teenager but it did mirror the problems all teenagers encounter.

Fonz was everywhere in the seventies. Kids at school would do the hair in the mirror thing. If I only had a nickel every time I heard “heeeeyyyy” I would be a rich man. T-Shirts, lunch boxes, notebooks, and anything “Happy Days” could be printed on was… Phrases included Sit On It, Exactamundo, Bucko, and more became popular…Yowsah Yowsah Yowsah!

Two more phrases came because of the show. Jump the Shark and the Chuck Cunningham Syndrome but more in them in a minute.

Richie had some understanding parents… Howard and Marion Cunningham were always there with a solution and he had a sometimes bratty but typical little sister Joanie. His best friends were Potsy and Ralph Malph who would mostly get Richie in trouble.

Happy Days also spawned a number of spin-offs, including the hit shows Laverne & Shirley and Mork & Mindy. We won’t discuss Joanie Loves Chachi…no that didn’t happen.

In the Seventies, a 50s revival was happening at the time and this show certainly added to it. Movies like Grease, American Graffiti, and The Last Picture Show were hits also.

Now some fun stuff.

Jump the Shark – A definition… “(of a television series or movie) reach a point at which far-fetched events are included merely for the sake of novelty, indicative of a decline in quality”

This originated from Happy Days. It was the episode where Fonzie jumps over a shark while on water-skis. This was way outside the original storyline of the show. If you want to know which one…Season 5 Episode 3 of a three-part episode storyline.

The Chuck Cunningham Syndrome – One of the definitions I found…  occurs when a character in a television mysteriously vanishes from the show. No write-off, no death, not even a passing explanation of what happened to the character.

This originated from Happy Days. Poor Chuck was Ritchie’s brother and he is in a total of 11 episodes in the first two seasons. After that, we never see nor hear anything from Chuck again. Did aliens abduct him? Was he in the Witness Protection program? Was he a spy? Was he a figment of the family’s imagination? Did he grow up to be Alice Cooper?

This is where “Jump The Shark” was born…Yea, a guy from Milwaukee is going to water ski and jump a shark…with a leather jacket on.

Talking Heads – Psycho Killer

There are bands that are hard to tell apart from other bands…and then there are bands like Devo and The Talking Heads that sound like no one else.

Psycho Killer is a song from their 1977 album Talking Heads: 77. It was the only song from the album to appear on the Billboard charts, peaking at #92 in the Billboard 100.

Part of the chorus and the bridge are in French. The verse translates to “What I did, that evening, what she said, that evening fulfilling my hope I throw myself towards glory.” The chorus lyric “Qu’est-ce que c’est?” means “What is this?”

The lyrics were said to be inspired by the character Norman Bates in the movie Psycho.

David Byrne: “Chris and Tina helped me with some of the French stuff. I realized, ‘That holds up. That’s a song.’ I may have been inspired by other things when I was writing it, but I hadn’t heard anything quite like it before. I was also writing completely from the character’s point of view. We played it. People liked it. I thought, ‘Oh, I can do more.'”

 

From Songfacts

This was the result of lead singer David Byrne trying to write an Alice Cooper song, but it came out much more introspective. It ended up being about the thoughts of a murderer.

The “Fa Fa” part comes from an Otis Redding song called “Fa-Fa-Fa-Fa-Fa (Sad Song).” Redding and other Soul singers were a big influence on Talking Heads.

Byrne wrote this two years before it was recorded. It was Talking Heads’ first album.

Byrne never thought this would be a hit. He considered it a “silly song” at the time, and was surprised when it took off.

The Tom Tom Club, a group led by former Talking Heads Tina Weymouth and Chris Frantz, often plays this at their concerts with Tina singing the lead vocal.

This is the first song played in the Talking Heads movie Stop Making Sense.

An acoustic version was the flip side of the single.

This appears on the live albums Stop Making Sense and The Name Of This Band Is Talking Heads.

Artist to cover this song include Barenaked Ladies, Phish, Brand New, Local H and Velvet Revolver.

The 2017 Selena Gomez hit “Bad Liar” samples the bassline from this track. David Byrne has no problem with it. “I would have an issue if somebody took, say, ‘This Must Be The Place,’ which is a very personal love song,” he told Rolling Stone. “Other than that, yeah, repurpose the stuff.”

Psycho Killer

I can’t seem to face up to the facts
I’m tense and nervous and I can’t relax
I can’t sleep ’cause my bed’s on fire
Don’t touch me I’m a real live wire

Psycho Killer
Qu’est-ce que c’est
Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better
Run run run run run run run away oh oh
Psycho Killer
Qu’est-ce que c’est
Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better
Run, run, run, run, run, run, run, away oh oh oh
Yeah yeah yeah yeah!

You start a conversation you can’t even finish it
You’re talking a lot, but you’re not saying anything
When I have nothing to say, my lips are sealed
Say something once, why say it again?

Psycho Killer
Qu’est-ce que c’est
Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better
Run run run run run run run away oh oh oh
Psycho Killer
Qu’est-ce que c’est
Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better
Run, run, run, run, run, run, run, away oh oh oh oh!
Yeah yeah yeah yeah!

Ce que j’ai fais, ce soir la
Ce qu’elle a dit, ce soir la
Realisant mon espoir
Je me lance, vers la gloire, OK
Yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah
We are vain and we are blind
I hate people when they’re not polite

Psycho Killer
Qu’est-ce que c’est
Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better
Run run run run run run run away oh oh oh
Psycho Killer
Qu’est-ce que c’est
Fa-fa-fa-fa-fa-fa-fa-fa-fa-far better
Run, run, run, run, run, run, run, away oh oh oh
Yeah yeah yeah yeah oh!

The Ox: The Authorized Biography of The Who’s John Entwistle…. by Paul Rees

When I see the word “authorized” I get really skeptical that they will not tell the complete story. This one proved me wrong. John’s son Christopher had said that this book was going to be warts and all. He was correct in that. I was super excited to read this. In the past year, I re-read Pete Townshend’s autobiography, Roger Daltrey’s autobiography, and re-read Keith Moon’s biography by Tony Fletcher and to top it off the Kenney Jones biography.

John actually wrote 4 chapters himself in 1990 when he wanted to write his own book. He soon grew tired of it and just stored it away. Rees did manage to incorporate some of what he wrote that included stories about him and Moon I never heard. John Entwistle is the least written about of the four. Any info on him is nice and a lot of this was new to me. Rees goes over the highlights and you don’t get dragged down at any point. The only thing I didn’t like was…like Daltrey’s autobiography it’s short…only 320 pages long.

The book goes through the history of the Who that Who fans know but with a lot of anecdotes. I found out more about John’s life than I ever knew. You see where he developed his black humor and he was probably the best pure musician in that band. I would recommend this book to any rock music fan. You get some funny stories also…

One about the Who opening up for the Beatles and listening to them through monitors in the dressing room rolling on the floor laughing hearing The Beatles sing obscene words to their songs “I Want To Hold Your ****”…A Hard Day’s ****. because the screaming was so loud and they couldn’t be heard out front.

Why I looked forward to this book…

___________________________________________________________________________________________

John was a bass hero of mine growing up. I started off learning trying to learn the riffs he did by slowing Who albums with my finger so the riffs would be slower…but they were still fast. Most bass players fill in the empty space but with the Who, there wasn’t much empty space because of Moon’s playing. He played what amounted to lead bass and it worked well…his harmonics made up for the lack of other instruments.

Keith Altham (journalist): John was an enigma. That he was the best bass guitarist of his generation is not in dispute, but because of the peculiar demands placed upon him by The Who he wasn’t a bass player in the accepted sense of the term because he didn’t play bass like anyone else, any more than Keith Moon played the drums like anyone else or, for that matter, Pete Townshend the guitar. “His playing was so dextrous and inventive that he was often indistinguishable from a second guitar.”

Lemmy: “He’s the best player in Rock and Roll ever…no contest”

John Entwistle: “I just wanted to play louder than anyone else …

Bill Wyman: John was the Jimi Hendrix of bass players

Bonnie Raitt – Runaway

A couple of weeks ago we looked at Bonnie Raitt in the late 80s…Here she is in the 70s putting a new bluesy twist on Runaway. It was her breakthrough in the Singles Charts. It would be 12 more years before she broke through big with the album Nick of Time.

Del Shannon and his keyboard player, Max Crook, wrote with this while they were playing a club in their hometown of Battle Creek, Michigan. Crook played a keyboard called a “Musitron” on Del’s version of the song.

The Raitt version of Runaway peaked at #57 in the Billboard 100 and #79 in Canada. It was on the Sweet Forgivness album released in 1977 which peaked at #25 in the Billboard Album Charts.

Runaway

As I walk along I wonder what went wrong
With our love, a love that was so strong
And as I still walk on I think of the things
We’ve done together while our hearts were young
I’m a walking in the rain, to the bone I feel the pain
Wishing you were here by me to end this misery
And I wonder, I w-w-wonder, why, you ran away
And I wonder if you will stay, my little runaway, my runaway
I’m a walking in the rain, to the bone I feel the pain
Wishing you were here by me to end this misery
And I wonder, I w-w-wonder baby yeah, you know why, you ran away
And I wonder if you will stay, my little runaway, my little runaway
Come back baby
(Run, run, runaway)
You left me standing in the rain
(Run, run, runaway)
Come back baby
(Run, run, runaway)
Standing in the rain
(Run, run, runaway)