Led Zeppelin – Fool In The Rain

One of the first songs I noticed by Zeppelin when they were still a functioning band. As always in Zeppelin songs, Bonham really shines and he drives the song. BTW the B side to this song was Hot Dog. A fun rockabilly song with a hoe down guitar riff…that is the only way I know how to describe it.

Dave posted the Genesis’s song Misunderstanding the other day and I commented that I thought these two songs are sort of similar. The subject is very close (a guy waiting for the girl and both in the rain) and they do sound related…not exact copies at all but similar. Led Zeppelin’s song was recorded before and released before the Genesis song….I’m definitely not saying anything idea was ripped off… just a happy coincidence…anyway sorry about the detour.

This was on their last studio album (not counting Coda) In Through The Out Door. Fool In The Rain peaked at #21 in the Billboard 100, #12 in Canada, and #44 in New Zealand Top 50 Singles Chart in 1980.

This was the last Led Zeppelin song to chart in the US. The group didn’t release many singles, but they pegged this one for popular appeal. Zeppelin retired with six Top 40 hits in America.

From Songfacts

This song is about a guy who is supposed to meet a woman on a certain corner. When the woman doesn’t show up, he thinks he’s been stood up. It turns out he was just standing on the WRONG corner and is now a “fool in the rain.” 

This song was never performed live because the group didn’t think the sound came off well. The piano was quite necessary in the song, but with John Paul Jones on piano there could be no bass, and the bass is very important in this one. There is also a twelve-string line at one point in the song and the guitar solo that has to be pulled off. The middle section was another issue.

Jimmy Page used regular distortion on this song, as well as an obscure effect called a called a blue box, which is a fuzz/octave pedal. This fuzzes (or distorts) the guitar, then drops it down two whole octaves. James Taylor’s bassist has used this effect. 

Mexican rockers Mana recorded this for the Spanish language market edition of the tribute album Encomium

 

Here are the two songs.

Fool In The Rain

Oh, baby
Well there’s a light in your eye that keeps shining
Like a star that can’t wait for night
I hate to think I been blinded baby
Why can’t I see you tonight?
And the warmth of your smile starts a burning
And the thrill of your touch give me fright
And I’m shaking so much, really yearning
Why don’t you show up and make it alright, yeah?
It’s alright right

And if you promised you’d love so completely
And you said you would always be true
You swore that you never would leave me baby
Whatever happened to you?
And you thought it was only in movies
As you wish all your dreams would come true, hey
It ain’t the first time believe me baby
I’m standing here feeling blue, blue ha!
Yes I’m blue
Oh, babe

Now I will stand in the rain on the corner
I watch the people go shuffling downtown
Another ten minutes no longer
And then I’m turning around, ’round
And the clock on the wall’s moving slower
Oh, my heart it sinks to the ground
And the storm that I thought would blow over
Clouds the light of the love that I found, found

Light of the love that I found
Light of the love that I found
Oh, that I found

Hey, babe, ooh

Hand that ticks on the clock
Just don’t seem to stop
When I’m thinking it over
Oh, tired of the light
I just don’t seem to find
Have you wait, yeah played
Whoa, I see it in my dreams
But I just don’t seem to be with you, you
I gotta get it all, gotta get it all, gotta get it all
I’ve got to get all

Ooh now my body is starting to quiver
And the palms of my hands getting wet, oh
I got no reason to doubt you baby
It’s all a terrible mess
And I’ll run in the rain till I’m breathless
When I’m breathless I’ll run ’til I drop, hey!
And the thoughts of a fool’s kind of careless
I’m just a fool waiting on the wrong block, oh yeah

Hey, now, oh, oh, oh
Light of the love that I found
Light of the love that I found
Light of the love that I
Light of the love that I found
Light of the hey, now light of the hey, now
Light of the love that I found
Light of the love that I found

Cars – Let The Good Times Roll

This song was on The Car’s great debut album that just keeps giving. “Good Times Roll” was released as the third single from the album.

Ric Ocasek wrote and sang lead on this song. None of the songs were huge hits but 6 songs off of the album still get played on radio today. Rolling Stone also ranked the album No. 284 in its “500 Greatest Albums of All Time” list.

This song peaked at #41 in the Billboard 100 and #74 in Canada in 1979.

Ric Ocasek:  “I just remember when we did ‘Good Times Roll’ in the studio in England on the first record, and we heard back the vocals. I told Roy that I thought it was way, way too much. … But you know, it grew on me later and it sounded so smooth. It was a nice process to do it because Roy, you know, was fortunate enough to have a 40-track machine … so he could do layering of vocals a lot.”

Good Times Roll

Let the good times roll
Let them knock you around
Let the good times roll
Let them make you a clown

Let them leave you up in the air
Let them brush your rock and roll hair

Let the good times roll
Let the good times roll
Let the good times roll

Let the stories be told
They can say what they want
Let the photos be old
Let them show what they want

Let them leave you up in the air
Let them brush your rock and roll hair
Let the good times roll
Let the good times roll-oll
Won’t you let the good times roll

Good times roll

If the illusion is real
Let them give you a ride
If they got thunder appeal
Let them be on your side

Let them leave you up in the air
Let them brush your rock and roll hair
Let the good times roll
Won’t you let the good times roll-oll
Let the good times roll

Let the good times roll
Won’t you let the good times roll
Well let the good times roll
Let ’em roll (good times roll)

Let the good times roll
Let the good times roll
Ooh let the good times roll
Let ’em roll (good times roll)

Let the good times roll
(Let the good times roll)
Let the good times roll
Good times roll
(Let the good times roll)
Let the good times roll
Let ’em roll

Death Wish 1974

When I started to watch this movie…I thought it was going to be Charles Bronson randomly mowing down the people in New York City…but it had a purpose and was a pretty good movie.

There was some controversy when this movie was released because of Bronson being a vigilante. The critics who disliked the film complained that it irresponsibly exploited fear. They also claimed the film gave an exaggerated picture of crime in New York and that it glorified vigilantism… that it endorses violence as a solution to violence.

I enjoyed the film. New York in the mid-seventies makes a great atmosphere…although not a safe one. The movie is brutal but realistic.

On a side note…this movie is Jeff Goldblum’s film debut.

From IMDB

Open-minded architect Paul Kersey returns to New York City from vacationing with his wife, feeling on top of the world. At the office, his cynical coworker gives him the welcome-back with a warning on the rising crime rate. But Paul, a bleeding-heart liberal, thinks of crime as being caused by poverty. However, his coworker’s ranting proves to be more than true when Paul’s wife is killed and his daughter is raped in his own apartment. The police have no reliable leads and his overly sensitive son-in-law only exacerbates Paul’s feeling of hopelessness. He is now facing the reality that the police can’t be everywhere at once. Out of sympathy, his boss gives him an assignment in sunny Arizona where Paul gets a taste of the Old West ideals. He returns to New York with a compromised view on muggers…

Free – All Right Now

Yes, this has been played to death but it still sounds good. No frills rock and roll from the early seventies.

I have a new appreciation for the song. The guys come over…well before the lockdown…and play music in my garage. Someone brought this one up and started to play it a couple of months ago and we started to play…it is a great song to play and hear live.

The song peaked at #4 in the Billboard 100, #4 in Canada, and #2 in the UK in 1970. It was featured on the Fire and Water album. In 1991, the song was remixed and re-released, reaching #8 in the UK again.

The song was written by Andy Fraser and Paul Rodgers.

This topped a 2010 online fan poll by UK radio station Planet Rock for the “Greatest Rock Singles.” Said Paul Rodgers: “When I started writing ‘All Right Now’ the lyrics and the melody flowed easily. It felt special and it’s still special to me and the fans. It’s a ‘must play’ in my solo set.”

Simon Kirke (Drummer): “‘All Right Now’ was created after a bad gig in Durham, England. Our repertoire at that time was mostly slow and medium paced blues songs which was alright if you were a student sitting quietly and nodding your head to the beat. However, we finished our show in Durham and walked off the stage to the sound of our own footsteps. The applause had died before I had even left the drum riser. When we got into the dressing room, it was obvious that we needed an uptempo number, a rocker to close our shows. All of sudden, the Inspiration struck (bass player Andy) Fraser, and he started bopping around singing ALL RIGHT NOW… He sat down and wrote it right there in the dressing room. It couldn’t have taken more than 10 minutes.” 

Paul Kossoff was the guitar player and influenced a generation of guitar players before and after his early death in 1976.

From Songfacts

In the CD Molten Gold – An Anthology, Free drummer Simon Kirke explained: 

Andy Fraser (Free’s Bass Player): “We’d started work on our third album, Fire and Water and things were going well. The idea for ‘All Right Now’ came about on a rainy Tuesday night in some god-forsaken minor city – I can’t remember where – in England. We were playing a college that could have held 2,000 but had something like 30 people out of their heads on Mandrax bumping into each other in front of us. They didn’t notice when we came on or when we went off.

Afterward, there was that horrible silence in the dressing room. To break the intensity, I started singing, ‘All right now…come on baby, all right now.’ As if to say, Hey, tomorrow’s another day. Everyone else started tapping along. That riff was me trying to do my Pete Townshend. We listened to everything, though: The Beatles, Stax and Motown, Gladys Knight And the Pips was one of our main influences then.

Paul (Rodgers) said he wrote the lyrics while he was waiting for us to pick him up for another gig. We used to have a dressing room amp, so every night we’d do the song and add a bit until we tested it live.”

This is the first hit song with vocals by Paul Rodgers. He later joined Bad Company and also played with The Firm and Queen.

This song really took off after Free’s performance at the Isle of Wight Festival on August 31,1970 at the East Aftom Farm, Aftom Down, where over 600,000 people attended. Los Angeles disc jockey Joe Benson told Paul Rodgers during an on air interview that “All Right Now” is playing over the airwaves somewhere around the world once every 45 seconds. 

Free weren’t able to follow up this song with another hit, as the next single, “Stealer,” stalled at #49 in America and didn’t chart at all in the UK. In a Songfacts interview with Simon Kirke, he said: “It became a bit of an albatross around our necks, I have to say. Even though it elevated Free into the big leagues, it became a bit of an albatross because we couldn’t follow it. It became a huge hit all around the world, only because we wanted to have something that people could dance to, but then, of course, we had to follow it up, and Island Records were desperate for us to follow it up.

Really it was just a one-off for us, and when the follow-up to ‘All Right Now’ died a death – it was called “The Stealer” – and the album that followed, Fire and Water, from which ‘All Right Now’ was taken, when that didn’t do very well, we took it to heart and the band broke up. So, in an indirect way, ‘All Right Now’ was not very good for the band, I have to say.

But, by the same token, it’s been such a durable song. I play it in my solo shows, I played it with Ringo Starr and I think one of the highlights of my career.”

The song has soundtracked numerous commercials in the UK, most famously in 1990 when it featured in a TV ad for Wrigley’s chewing gum, which generated enough interest to return the tune to the UK charts. “I can’t keep track of where it’s turned up,” Paul Rodgers ruefully told The Independent April 7, 2010. “Island Records owned the publishing rights to all our songs in perpetuity. In theory, they’re supposed to call me and ask, ‘Can we use this song in this way?’ but they often don’t. I think if the money’s good enough, they just go, ‘Yes! Wrigley’s? YES!!'”

A less satisfactorily tie-in came when the song was used to advertise a foot-odor powder on television. “You use this stuff on your feet and the song comes on to signify that your feet are All Right Now, you see,” Rogers said acidly. “I rang Chris Blackwell about it. He had it taken off pretty smartly.”

The song has been covered by many bands and artists, including Mike Oldfield, Rod Stewart, Christina Aguilera, the Runaways and, ex-Wham! backing singers Pepsi & Shirlie.

When Paul Rodgers teamed up with Queen in 2004 to tour as Queen + Paul Rodgers, this was a regular part of their set list and a crowd favorite.

It’s Alright Now

There she stood in the street
Smiling from her head to her feet
I said hey, what is this
Now baby, maybe she’s in need of a kiss
I said hey, what’s your name baby
Maybe we can see things the same
Now don’t you wait or hesitate
Let’s move before they raise the parking rate

All right now baby, it’s all right now
All right now baby, it’s all right now

I took her home to my place
Watching every move on her face
She said look, what’s your game baby
Are you tryin’ to put me in shame?
I said “slow don’t go so fast,
Don’t you think that love can last?
She said Love, Lord above
Now you’re tryin’ to trick me in love

All right now baby, it’s all right now
All right now baby, it’s all right now

Yeah, it’s all right now
Oh yeah

Let me tell you all about now
Took her home to my place
Watching every move on her face
She said look, what’s your game
Are you tryin’ to put me in shame?
Baby,I said “slow don’t go so fast
Don’t you think that love can last?
She said love, Lord above
Now he’s tryin’ to trick me in love

All right now baby, it’s all right now
All right now baby, it’s all right now

All right now baby, it’s all right now
All right now baby,baby,baby it’s all right now
All right now baby, it’s all right now
All right now baby, it’s all right now
(All right now baby, it’s all right now) We are so happy together it’s alright,it’s alright,it’s alright
(Everything alright) all right now baby, it’s all right now

Dave Edmunds – Crawling From the Wreckage

This song was on the Edmunds solo album Repeat When Necessary. It was released in 1979 on Led Zeppelin’s record label Swan Song. The album peaked at #54 in the Billboard 100 in 1979.

Crawling From The Wreckage peaked at #59 in the UK when released.

The musicians on the album are Edmunds, Lowe, Billy Bremner, and Terry Williams…known as Rockpile.

This song was written by Graham Parker…below are both versions.

Crawling From The Wreckage

Got out really early from the factory
Drivin’ like a nut in the rain
Don’t think I was actin’ so hysterically
But I didn’t see a thing until it came
Met the dumb suburbos in the takeaway
Beating up the Chinee at the counter
I put a few inside me at the end of the day
I took out my revenge on the revolution counter

Crawlin’ from the wreckage, Crawlin’ from the wreckage
You’d think by now at least that half my brain would get the message
Crawlin’ from the wreckage, Crawlin’ from the wreckage
Into a brand new car

In walks Bud with his exploding nose
He’s been giving it maximum today
Shouted, How the devil, you in trouble, I suppose
All you ever do is run away
Gunned up the motor inta hyperdrive
I wasn’t gonna take any of that
Don’t get bright ideas about a suicide
‘Cause all I ever hear is, Zoom, bam, fantastic

Crawlin’ from the wreckage
Crawlin’ from the wreckage
You’d think by now at least that half a brain would get the message
Crawlin’ from the wreckage
Crawlin’ from the wreckage
Into a brand new car

Crawlin’, crawlin’, crawlin’ from the wreckage
Crawlin’, crawlin’, crawlin’ from the wreckage
Crawlin’, crawlin’, crawlin’ from the wreckage

Crawlin’ from the wreckage, Crawlin’ from the wreckage
Bits of me are scattered in the trees and in the hedges
Crawlin’ from the wreckage, Crawlin’ from the wreckage
Into a brand new car

Nothin’ seems to happen that ain’t happened before
I see it all through flashes of depression
I drop my drink and hit some people runnin’ for the door
Gotta make some kind of impression
‘Cause when I’m disconnected from the drivin’ wheel
I’m only half the man I should be
Metal hitting metal is-a all I feel
Everything is good as it poss-i-bul-ly could be

Crawlin’ from the wreckage, Crawlin’ from the wreckage
You’d think by now at least that half a brain would get the message
Crawlin’ from the wreckage, Crawlin’ from the wreckage
Into a brand new car

Crawlin’ from the wreckage, Crawlin’ from the wreckage
Bits of me are scattered in the trees and in the hedges
Crawlin’ from the wreckage, Crawlin’ from the wreckage
Into a brand new car

Crawlin’ from the wreckage, Crawlin’ from the wreckage

Crosby, Stills, Nash, and Young – Our House

Our House…that is where most of us are today and for days to come. Here is a ballad that Graham Nash wrote for the Déjà Vu album. The first album to include Crosby, Stills, Nash, AND Young.

Graham Nash wrote this sentimental tune about his relationship living with Joni Mitchell in a cottage in LA’s Laurel Canyon around 1969. Mitchell and Nash were a romantic couple during the period in which Joni wrote the songs for Ladies Of The Canyon which, like Deja Vu, was released in 1970.

Our house peaked at #30 in the Billboard 100, #13 in Canada, and #19 in New Zealand in 1970.

Graham Nash: It was one of those gray cloudy days in Los Angeles that foreshadows the spring. When we got back and put our stuff down, I said, “I’ll light a fire”—she had an open fireplace with a stash of wood in the back—“why don’t you put some flowers in that vase you just bought. It’ll look beautiful. It’s kind of a bleak day. It’ll bring some more color into the room.” Then I stopped. I thought: Whoa! That’s a delicious moment. How many couples have been there: You light a fire, I’ll cook dinner. I thought that in the ordinariness of the moment there might be a profoundly simple statement. So Joni went out into the garden to gather ferns and leaves and a couple flowers to put in the vase. That meant she wasn’t at the piano—but I was! And within the hour, the song “Our House” was finished.

 

From Songfacts

Biographer Dave Zimmer shared what Graham Nash told him about the song in the 2007 CSNY Historian’s interview: “He once told me: ‘The time that Joni and I were living together was really interesting because I had left my band [The Hollies] successfully, I had left my country [England] successfully, I had been accepted here [Los Angeles, California], and I was feeling great. And Joni was feeling great, too; she had started to realize who she was and the fantastic work she was doing. She was painting and designing her second album cover, doing that self-portrait. And I remember being totally in awe of her. She’d go and make some supper and come down and we’d be eating, then she’d all of a sudden space out, go to the piano … to see her sit down and write ‘Rainy Night House’ and all those other things was just mind blowing.'” 

According to Graham Nash’s biography Wild Tales, a famous line in this song had a very specific inspiration. He and Joni Mitchell went to an antiques store and she picked out a vase. When they got home, Nash said, “I’ll light the fire while you place the flowers in the vase that you bought today.” He stopped dead in his tracks and went immediately to the piano.

In the earliest live performances of the song, Nash would introduce it as being “about my woman.” He never used Mitchell’s name, though.

This was used in ’80s TV spots for Eckrich sausage and the Pacific Bell telephone company.

Our House

I’ll light the fire, you place the flowers in the vase that you bought today
Staring at the fire for hours and hours while I listen to you
Play your love songs all night long for me, only for me

Come to me now and rest your head for just five minutes, everything is good
Such a cozy room, the windows are illuminated by the evening
Sunshine through them, fiery gems for you, only for you

Our house is a very, very fine house with two cats in the yard, life used to be so hard,
Now everything is easy ’cause of you and our la, la, la…

Our house is a very, very fine house with two cats in the yard, life used to be so hard,
Now everything is easy ’cause of you and our

I’ll light the fire, while you place the flowers in the vase that you bought today

The Who – Squeeze Box

You go and see Pete Townshend to watch him windmill his guitar and jump about. Not on this song…you hear Pete happily playing on a banjo…and that is a great thing. He also slips in the accordion for good measure. This is not The Who’s best song but it’s happy and catchy. It’s also the first Who song I remember hearing without knowing much about them. My sister surprisingly had this single…a bright spot among the many bad ones she owned.

This song was on the album The Who By Numbers released in 1975 and peaked at #8. Squeeze Box made it to #16 in the Billboard 100 in 1976.

Townshend wrote all of the songs and they were deeply personal. He had just turned 30 and he was beginning to question his place in Rock and Roll. A question he would wrestle with a few more years.

Squeeze Box was originally intended for a Who television special planned in 1974. In the planned performance of the song, the members of the band were to be surrounded by 100 topless women playing accordions

Pete Townsend: “It’s not about a woman’s breasts, vaginal walls, or anything else of the ilk.”

Roger Daltrey: “What’s great about ‘Squeeze Box’ is that it’s so refreshingly simple, an incredible catchy song. A good jolly. I’ve never had a problem with that song because it doesn’t pretend to be anything other than what it is and I love it for that. Live audiences love it. Nothing wrong with a bit of ‘in-and-out’, mate!”  

From Songfacts

Squeeze Box” is a slang term for an accordion, but it is also slang for the vagina. The band just wanted to see if they could get away with singing about the joys of explicit sex. 

In the liner notes to Pete Townshend’s compilation album Scoop, he wrote that he recorded the song for fun one day when he had bought himself an accordion. The accordion gave the song a polka-esque rhythm and the lyrics were “intended as a poorly aimed dirty joke.” Townshend had no thought of it ever becoming a hit.

The song is about an accordion (sort of), but there is hardly any of the instrument in the song. You can hear some in the section about 90 seconds in that goes, “squeeze me, come on and squeeze me,” but the subsequent instrumental section is mostly banjo. Pete Townshend played both instruments.

 

Squeeze Box

Mama’s got a squeeze box
She wears on her chest
And when daddy comes home
He never gets no rest
‘Cause she’s playing all night
And the music’s all right
Mama’s got a squeeze box
Daddy never sleeps at night

Well the kids don’t eat
And the dog can’t sleep
There’s no escape from the music
In the whole damn street
‘Cause she’s playing all night
And the music’s all right
Mama’s got a squeeze box
Daddy never sleeps at night

She goes in and out and in
And out and in and out and in and out
She’s playing all night
And the music’s all right
Mama’s got a squeeze box
Daddy never sleeps at night

She goes, squeeze me, come on and squeeze me
Come on and tease me like you do
I’m so in love with you
Mama’s got a squeeze box
Daddy never sleeps at night

She goes in and out and in and out
And in and out and in and out
‘Cause she’s playing all night
And the music’s all right
Mama’s got a squeeze box
Daddy never sleeps at night

The Band – Life Is A Carnival

One quick story before the song. When I was 6 years old my dad, mom, sister. and I piled into the car and we all traveled to the carnival. I was so excited…too excited. I was in the backseat and stuck my head out the driver’s side window. My dad was not paying attention…can you see this coming? My dad started to roll the window up and could not understand why it was stuck. My neck was in it and Dad was trying to roll up harder. By this time I could not breathe, my face was turning red, and I was flopping around like a mouse in a trap…my mom yelled at my dad…MAX IS IN THE WINDOW… what? my dad asked…then my mom and sister screamed…MAX IS IN THE WINDOW…in unison no less. I can still hear him….Son…why the hell did you have your head handing out the window? Uh Dad…I wanted out to go to the carnival.

I loved carnivals growing up. At night they were magical with the lights, sounds, and smells.

This song was on The Band’s fourth studio album Cahoots. The song was written by  Rick Danko, Levon Helm, and Robbie Robertson. The song peaked at #72 in the Billboard 100 in 1972. The album Cahoots peaked at #21 in the Billboard Album Charts in the same year.

The Band had a new studio in Bearsville NY to experiment in during the early ’70s. It was opened by their manager Albert Grossman but Robbie Robertson commented that it left them a bit cold. They are also going through drug problems with three members at the time of recording.

Rick Danko in 1993: “I think we shipped a million copies of that second album,”
“And that changed a lot of people’s lives — in particular, the Band’s. After that, we were only getting together once a year, for a couple of months, to record. It was like we were too decadent to play.”

Life Is A Carnival

You can walk on the water
Drown in the sand
You can fly off a mountaintop
If anybody can

Run away, run away (run away, run away)
It’s the restless age
Look away, look away (look away, look away)
You can turn the page

Hey, buddy, would you like to buy a watch real cheap?
Here on the street
I got six on each arm
And two more ’round my feet

Life is a carnival
Believe it or not
Life is a carnival
Two bits a shot

Saw a man with a jinx
In the third degree
From trying to deal with people
People, you can’t see

Take away, take away (take away, take away)
This house of mirrors
Give away, give away (give away, give away)
All the souvenirs

We’re all in the same boat ready to float
Off the edge of the world
The flat old world
The street is a sideshow
From the peddler to the corner girl

Life is a carnival
It’s in the book
Life is a carnival
Take another look

Hey, buddy, would you like to buy a watch real cheap?
Here on the street
I got six on each arm
And two more ’round my feet

Life is a carnival
Believe it or not
Life is a carnival
Two bits a shot

 

J.D. Souther – You’re Only Lonely

This song has always stuck with me. I have a special place for it. J.D. Souther was influenced by the Roy Orbinson song Only The Lonely. This title fits some today in what all of us are going through. You know sometimes when you say “all of us” you mean maybe your state, district, or country…but now it truly means all of us.

J.D. Souther collaborated on many of The Eagles’ hits, including New Kid in Town. J.D. Souther had some talented friends. In the early days of his career, Souther shared an apartment with future Eagles member Glenn Frey in Los Angeles. Downstairs was Jackson Browne. Don Henley, Bonnie Raitt and many others from that scene hung around, too.

“You’re Only Lonely” was originally released in 1979, and was No. 1 on Billboard’s Adult Contemporary chart. It peaked at #7 in the Billboard 100.

J.D. Souther talks about how Linda Ronstadt gave him good advice: “Very pointedly, she said, ‘Don’t try to rewrite the songs.’ I mean, she encouraged me to do the record because I defer to her advice quite often,” Souther says. “She really has just practically infallible taste in songs. She’s got what jazz players call ‘big ears.’ So I just kind of sat back and approached it as though the songs had been chosen for me by someone else.

From Songfacts

A #1 Adult Contemporary hit for 5 weeks, Souther told us that Roy Orbison, who had a hit with “Only The Lonely,” was a big influence on this song. Said Souther: “I was a little kid when I first heard Roy Orbison, but he was magic. He’s the guy that you turned out the lights and listened to his records by yourself – or with a girl – because he was just completely other-worldly. He had sarcastic and adventurous songs and great arrangements, and then that beautiful, almost operatic voice. Beautiful, natural deep echo on it. He is one of half a dozen or so rockabilly musicians that I really loved. When I was in junior high school was the first time I really started listening to that.

But then I started playing drums all the time, and I got so fascinated with jazz, I didn’t really think much about singing or making rock and roll records for quite a few years. The first song I ever heard called ‘Only the Lonely’ was this song that Frank Sinatra sang. It’s a Johnny Mercer song; it’s on a Sinatra album called Songs for Only the Lonely. There are a lot of songs with that name. But the beat that I used for ‘You’re Only Lonely’ is that rockabilly beat. That sort of break in it was taken from another Roy Orbison record called ‘I’m Hurtin” that I really love.”

When You’re Only Lonely

When the world is ready to fall on your little shoulders
And, when you’re feeling lonely and small,
You need somebody there to hold you;
You can call out my name

When you’re only lonely;
Now, don’t you ever be ashamed;
You’re only lonely.

When you need somebody around on the nights that try you
I was there when you were a queen
And I’ll be the last one there beside you;
So you can call out my name

When you’re only lonely;
Now, don’t you ever be ashamed;
You’re only lonely. (You’re only lonely)
(You’re only lonely) (You’re only lonely)

Ooh, When the world is ready to fall on your little shoulders
And, when you’re feeling lonely and small,
You need somebody there to hold you;
So don’t you ever be ashamed
When you’re only lonely;
You can call out my name

When you’re only lonely; (You’re only lonely)
When you’re only lonely; (You’re only lonely)
Ooh, it’s no crime,
Darlin’, we got lots of time,
Woh, woh, (You’re only lonely)
Woh, woh, woh, (You’re only lonely)
No there’s nothing wrong with you,
Darlin, I get lonely too.
(You’re only lonely)(You’re only lonely)
So, if you need me, (You’re only lonely)
All you’ve gotta do is call me
Well, you’re only lonely
(You’re only lonely)(You’re only lonely)
Ooh, ooh, (You’re only lonely)

Paul McCartney in Nashville 1974

Back in the early seventies, there was a line between rock and country. Now that line is blurred quite a bit but when Paul came to Nashville…it was a huge deal here. Some country artists wondered why a Beatle was coming here.

I’ve written some here but I don’t do it justice… His month stay involved an emergency room visit, a visit to Johnny Cash, Loveless Motel (great place to eat), and many other places. Please read this.. https://www.nashvillescene.com/news/article/13007056/when-we-was-fab

People here still talk about this visit to the city. I was only 7 and it was one year before I got into the Beatles. I faintly remember the newscasts. On June 6, 1974, Paul arrived and said he chose Nashville for his month’s stay as a rehearsal base for an upcoming tour. He also planned to enjoy himself while here, socializing with the community and horseback riding.

Paul said: “I rather fancy the place,”  “It’s a musical center. I’ve just heard so much about it that I wanted to see for myself.”

He recorded songs, went to the Grand Ole Opry, met Porter Waggner and Dolly Parton, ate some Kentucky Fried Chicken, and visited Printers Alley. Paul and Linda lived on a farm in Lebanon that  Curly Putman Jr rented…that is where the title Juniors Farm came from. Putman was a songwriter who wrote some huge songs like The Green Green Grass of Home, He Stopped Loving Her Today, D-I-V-O-R-C-E, and many more.

I have a cousin that lives down the road from the farm Paul and Linda stayed at…he got this shot but it’s a little dark. They added some columns since 1974.IMG_2102.PNG

Former Beatle Paul McCartney takes his wife, Linda, for a spin around the lawn of the home of songwriter Curly Putman July 17, 1974, where the McCartneys have been living during their visit to Nashville.

As his time in Tennessee came to a close, McCartney told a group of local reporters that he hoped to mount a U.S. tour the following year and that if it happened, Music City would definitely be on the itinerary.

McCartney didn’t come back until 36 years later in 2010 and I finally got to see him.

Paul McCartney's Nashville past

 

 

 

 

 

Gilbert O’Sullivan – Alone Again (Naturally)

I thought I would continue the theme that many of us are going through. Hopefully, we have our family around to be alone with…or if you are by yourself do something that makes you happy….but don’t linger on this song long…it is damn depressing.

I remember this mostly in the eighties when I worked at a printing place and listened to the oldies channel…99.6 in Nashville.

This song peaked at #1 in the Billboard 100, #1 in Canada, #2 in New Zealand, and #3 in the UK in 1972.

I do respect Gilbert for this quote: ‘Alone Again (Naturally)’ has no comic purpose at all, and it is not a song that people can dismiss like ‘Get Down’ or ‘Clair.’ Because it means so much to some people, I will not allow it to be used for karaoke or commercials.”

Again thanks to Roger of Musical Musings of a Mangled Mind for recommending this one.

From Songfacts

One of the most depressing songs ever written, “Alone Again (Naturally)” tells a rather sad tale of a lonely, suicidal man being left at the altar and then telling the listener about the death of his parents. The song connected with listeners on various levels: the downtrodden could commiserate with the singer, and the lucky ones who were not in this position were reminded of their good fortune.

This was Irish-born singer Gilbert O’Sullivan’s only American #1. It sold 2 million copies, spent six weeks at the summit in America and earned him three Grammy Award nominations (Best Male Pop Vocal Performance, Song of the Year, and Record of the Year). It was the second best-selling single of the year in America behind Don McLean’s “American Pie.”

Gilbert O’Sullivan has denied that this song is autobiographical or about the death of his father when he was 11. O’Sullivan said: “Everyone wants to know if it’s an autobiographical song, based on my father’s early death. Well, the fact of the matter is, I didn’t know my father very well, and he wasn’t a good father anyway. He didn’t treat my mother very well.”

O’Sullivan charted in UK with “Nothing Rhymed” from his first album, but didn’t make in impact in America until “Alone Again (Naturally)” was released as the first single from his second album. In the first half of the ’70s, O’Sullivan enjoyed a succession of hits in the UK, including two #1s that show his considerable range as a songwriter. The first was “Clair,” inspired by Clair Mills, the 3-year-old daughter of his manager Gordon Mills, whom O’Sullivan baby-sat. The second was “Get Down,” which shows off his soulful side. O’Sullivan was the first Irish-born recording artist with two UK #1 hits.

In a Songfacts interview with O’Sullivan, he explained how this song came together. “‘Alone Again’ was written with two other songs in a writing period when I was 22 years of age. I had been a postal clerk in London, so I was only able to write after work in the evening. When Gordon Mills managed me – he managed Tom Jones and Engelbert Humperdinck – when he took me on, he allowed me to quit my job and move into a bungalow that he owned where I could write every day. So, therefore, I was in a writing mode, and ‘Alone Again’ was just one of the songs I’d written. I was really pleased with it, happy with it, but I didn’t see it as being any more special than other songs. Suffice it to say, I was happy.”

The guitar solo was performed by Big Jim Sullivan, one of the most prolific session guitarists in the UK. He used a guitar with nylon strings to get the distinctive sound.

At the end of the 1980s this was used as the opening theme song and “Get Down” the closing theme song of Masion Ikkoku, a Japanese animated series. They were used without authorization, which caused some controversy at the time. However the net result was that a new Japanese generation discovered Gilbert’s music and his popularity grew in Japan. Some of his 1990s albums have only been released in Japan, where he has continued to enjoy some success.

In 1982 O’Sullivan took his former manager Gordon Mills to court over his original contract, ultimately winning back the master tapes to his recordings as well as the copyrights to his songs. Nine years later in 1991, O’Sullivan went to court again to sue the rapper Biz Markie, who used an unauthorized sample from this song in his track “Alone Again,” which appeared on Markie’s third album, I Need A Haircut. The judge made a landmark ruling in O’Sullivan’s favor that the rapper’s unauthorized sample was in fact theft. From this point on, artists had to clear samples or be subject to costly lawsuits.

O’Sullivan talked about the case in 2010 at a screening for the movie Out On His Own: Gilbert O’Sullivan. He said Biz Markie’s record company approached him about sampling the song, and O’Sullivan asked to hear it before granting permission. “Then we discovered that he was a comic rapper,” said Gilbert. “And the one thing I am very guarded about is protecting songs and in particular I’ll go to my grave in defending the song to make sure it is never used in the comic scenario which is offensive to those people who bought it for the right reasons. And so therefore we refused. But being the kind of people that they were, they decided to use it anyway so we had to go to court.”

O’Sullivan won’t let this song be used in commercials, but he often authorizes it for movies and TV shows, which typically use it for comic effect. Movies to use it include:

Gloria Bell (2018)
Napoleon Dynamite (2012)
Skylab (2011)
Megamind (2010)
Ice Age: Dawn of the Dinosaurs (2009)
Stuart Little 2 (2002)
Osmosis Jones (2001)
The Virgin Suicides (1999)

And in these TV shows:

The Simpsons (“The Wettest Stories Ever Told” – 2006)
Ally McBeal (“Alone Again” – 1998)

O’Sullivan had an unusual image in the early ’70s, performing in an outfit of pants and a flat cap. With his pudding-bowl haircut, he resembled a Depression-era street urchin. Around the time of the release of “Alone Again (Naturally),” he switched his outfit in favor of an endless series of collegiate-styled sweaters embossed with the letter “G.”

Sugar Ray borrowed the line “my mother, god rest her soul” for their 1997 hit “Fly.”

At least 100 artists have covered this song, including Anita Bryant, Sarah Vaughan, Johnny Mathis, Shirley Bassey and Neil Diamond. Pet Shop Boys did a version with Elton John, and Diana Krall and Michael Bublé recorded it together for Krall’s 2015 album Wallflower.

Alone Again (Naturally)

In a little while from now
If I’m not feeling any less sour
I promise myself to treat myself
And visit a nearby tower
And climbing to the top
Will throw myself off
In an effort to
Make it clear to whoever
Wants to know what it’s like When you’re shattered

Left standing in the lurch at a church
Were people saying, My God, that’s tough
She stood him up
No point in us remaining
We may as well go home
As I did on my own
Alone again, naturally
To think that only yesterday

I was cheerful, bright and gay
Looking forward to who wouldn’t do
The role I was about to play
But as if to knock me down
Reality came around
And without so much as a mere touch
Cut me into little pieces
Leaving me to doubt
Talk about, God in His mercy

Oh, if he really does exist
Why did he desert me
In my hour of need
I truly am indeed
Alone again, naturally
It seems to me that
There are more hearts broken in the world
That can’t be mended

Left unattended
What do we do
What do we do
Alone again, naturally
Looking back over the years
And whatever else that appears
I remember I cried when my father died
Never wishing to hide the tears

And at sixty-five years old
My mother, God rest her soul
Couldn’t understand why the only man
She had ever loved had been taken
Leaving her to start
With a heart so badly broken
Despite encouragement from me

No words were ever
And when she passed away
I cried and cried all day
Alone again, naturally
Alone again, naturally

Ringo Starr – Oh My My

I had this single as a kid from a cousin. The song was off of the 1973 Ringo album that was his most successful album. Three of his former bandmates helped contribute to this album. It contained Photograph, You’re Sixteen, and this one that were hit.

Lennon jokingly sent a telegram to Ringo after the success of this album and said: “Congratulations. How dare you? And please write me a hit song.”

The song peaked at #5 in 1974 in the Billboard 100.

 

 

 

 

Oh My My

One, two, three, four!

I phoned up my doctor to see what’s the matter,
He said, “come on over.”
I said, “do i have to?”
My knees started shakin’, my wrist started achin’
When my doctor said to me:

“oh my my, oh my my, can you boogie, can you slide?
Oh my my, oh my my, you can boogie if you try.
Oh my my, oh my my, it’s guaranteed to keep you alive.”

The head nurse she blew in, just like a tornado,
When they started dancin’, i jumped off the table.
I felt myself healin’ and as i was leavin’,
This is what they said to me:

“oh my my, oh my my, can you boogie, can you slide?
Oh my my, oh my my, you can boogie if you try.
Oh my my, oh my my, it’s guaranteed to keep you alive.”

(oh – yeah hey!
All right!
Oh!
Yeah! Yeah!
Yeah! Yeah! Yeah!
All right now!
Ooh!)

Now if you should slow down and you’re feelin’ low down,
Don’t call up your doctor, just grab you a partner.
It’s what you’ve been missin’, i’ve got your prescription,
That boogie woogie remedy.

“Oh my my, oh my my, you can boogie, you can slide?
Oh my my, oh my my, we can boogie ’til we die.
Oh my my, oh my my, it’s guaranteed to keep you alive, alright.”

“oh my my, oh my my, watch me boogie, watch me slide,
Oh my my, (ow!) Oh my my, born to boogie, born to slide. (can you boogie?)
Oh my my, oh my my, oo-wee, boogie, oo-wee, aye. (can you boogie?)
Oh my my, oh my my, play that boogie, play that slide. (can you boogie?)
Oh my my, oh my my, love that boogie, love that slide. (can you boogie?)
Oh my my, oh my my, oh, my boogie, oh, my slide. (can you boogie?)
Oh my my, oh my my, come on, baby, come on now. (can you boogie)
Oh my my, oh my my, come on, baby, i’m willing to die. (can you boogie?)
Oh my my, oh my my, come on, baby, come on, try. (can you boogie?)
Oh my my, oh my my.”

Elton John – Philadelphia Freedom

I was riding with my uncle in the summer of 1975 going to Florida to see relatives. I remember this song was big that summer and I heard it quite a few times all the way down there.

Elton owned the early to mid-seventies. this song peaked at # in the Billboard 100, #1 in Canada, #2 in New Zealand, #12 in the UK in 1975.

Elton had an interesting B-side on this single. The B-side was a live duet of The Beatles hit “I Saw Her Standing There” that Elton recorded with his friend John Lennon. Elton had previously sung on Lennon’s “Whatever Gets You Through The Night” and also released a version of “Lucy In The Sky With Diamonds,” which was written by Lennon.

Elton John: “In America, I’ve got ‘Philadelphia Freedom’ going up the charts again. I wish the bloody thing would piss off. I can see why people get sick and tired of me. In America, I get sick and tired of hearing myself on AM radio. It’s embarrassing.”

From Songfacts

Bernie Taupin wrote the lyrics to most of Elton John’s songs, but Elton would occasionally suggest titles. Elton requested a song with the title “Philadelphia Freedom” in honor of his friend, the tennis player Billie Jean King. At the time, there was a professional tennis league in America called World Team Tennis, and in 1974 King coached a team called the Philadelphia Freedoms, becoming one of the first women ever to coach men. Taupin had no obligation to write lyrics about King, and he didn’t – the song was inspired by the Philadelphia Soul sound of groups like The O’Jays and Melvin & The Blue Notes, and also the American bicentennial; in 1976 the US celebrated 200 years of independence.

Elton John and Billie Jean King became good friends after meeting at a party. Elton tried to attend as many of her matches as he could, and he promised King a song after she gave him a customized track suit. Elton and Billie Jean King would become icons of the gay and lesbian community, but at the time, they were both still in the closet, since athletes and entertainers faced a backlash if they revealed their homosexuality. Elton was often answering questions about why he hadn’t settled down with a girl, and King avoided the subject as best she could, but was forced to come out in 1981 when a former lover sued her for palimony. King was married to a man up until her outing, and Elton was married to a woman from 1984-1988.

On the single, it said this song was dedicated to “B.J.K.” (Billie Jean King) and “The Soulful Sounds Of Philadelphia.”

This song was a huge hit in America, following up another #1 single from Elton John, his cover of “Lucy In The Sky With Diamonds.” Elton dominated the charts at this time, but it didn’t always make him happy, as he felt he was being overexposed. 

Running 5:21, this was one of the longest dance hits of the ’70s. A few months earlier, a national radio programer declared that he would no longer play any Elton John song over 4 minutes long because they were screwing up his playlists (Program directors liked short songs because they could play more of them. Elton’s opuses like “Daniel” and “Funeral For A Friend” had a way of screwing up the “14 Hits In A Row” format). Elton knew this would be a hit, and was happy to screw the programmer by making it long, knowing he would have to play it anyway.

Elton said this was “one of the only times I tried to deliberately write a hit single.”

On May 17, 1975, Elton become one of the first white performers to appear on the TV show Soul Train, which was an honor for him. He performed this song and “Bennie And The Jets.”

Depending on where he was performing, Elton would sometimes alter the lyrics of the song, swapping “Philadelphia” for his present location. He would only do it if he could make it fit, so “Cincinnati Freedom” was a go, but Cleveland didn’t get customized.

Philadelphia Freedom

I used to be a rolling stone you know
If a cause was right
I’d leave to find the answer on the road
I used to be a heart beating for someone
But the times have changed
The less I say the more my work gets done

‘Cause I live and breathe this Philadelphia freedom
From the day that I was born I’ve waved the flag
Philadelphia freedom took me knee high to a man, yeah
Gave me a piece of mama, daddy never had

Oh Philadelphia freedom, shine on me, I love you
Shine the light, through the eyes of the ones left behind
Shine the light, shine the light
Shine the light, won’t you shine the light
Philadelphia freedom, I love-ve-ve you, yes I do

If you choose to you can live your life alone
Some people choose the city (some people the city)
Some others choose the good old family home (some others choose a good old)
I like living easy without family ties (living easy)
Till the whippoorwill of freedom zapped me
Right between the eyes

‘Cause I live and breathe this Philadelphia freedom
From the day that I was born I’ve waved the flag
Philadelphia freedom took me knee high to a man
Mm mm, gave me a piece of mama, daddy never had

Oh Philadelphia freedom, shine on me, I love you
Shine the light, through the eyes of the ones left behind
Shine the light, shine the light
Shine the light, won’t you shine the light
Philadelphia freedom, I love-ve-ve you, yes I do

Oh, Philadelphia freedom, shine on me, I love you
Shine the light, through the eyes of the ones left behind
Shine the light, shine the light
Shine the light, won’t you shine the light
Philadelphia freedom, I love-ve-ve,
You know I love-ve-ve , you know I love-ve-ve you
Yes I do, Philadelphia freedom
I love-ve-ve you
Yes I do, Philadelphia freedom
You know that I love-ve-ve you
Yes I do, Philadelphia freedom
Don’t you know that I love-ve-ve you
Yes I do, Philadelphia freedom
Don’t you know that I love-ve-ve you
Yes I do, Philadelphia freedom

Creedence Clearwater Revival – Up Around The Bend

Love the beginning riff in this song. This song was the B side to Run Through The Jungle.

It was written by lead singer and guitarist John Fogerty, this is a very upbeat Creedence Clearwater Revival, giving a hint that, as bad as things were in the early ’70s, there might be some hope for the future: Things would improve “Around The Bend.” Bass player Stu Cook described the song as “Kind of the opposite of ‘Run Through The Jungle.'”

This song required a bit of translation for British audiences. In England, if you go “around the bend” it means you go crazy. Then the band toured the UK, they had to explain to the British press that the song was not about dementia or mental problems.

The song peaked at #4 in the Billboard 100, #1 in Canada, #1 in New Zealand, and #3 in the UK in 1970.

 

From Songfacts

In his memoir Fortunate Son: My Life, My Music, John Fogerty said that this song came to him when he was riding his motorcycle through the California hills.

Movies this song has appeared in include Michael (1996), Remember the Titans (2000) and Invincible (2006). It was also used in a 2008 episode of the TV show My Name Is Earl. 

Elton John covered this song shortly after it was released, and his version appears on several compilation albums. Hanoi Rocks recorded it for their 1984 Two Steps From The Move album.

In 2016, Wrangler used this in a commercial for their jeans, surprising after John Fogerty lashed out at the company when they used “Fortunate Son” in ads without his permission beginning in 2000. Fogerty doesn’t control the rights to the songs he wrote for CCR, so they can be used without his consent.

Up Around The Bend

There’s a place up ahead and I’m goin’
Just as fast as my feet can fly
Come away, come away if you’re goin’
Leave the sinkin’ ship behind

Come on the risin’ wind,
We’re goin’ up around the bend

Oh

Bring a song and a smile for the banjo
Better get while the gettin’s good
Hitch a ride to the end of the highway
Where the neon’s turn to wood

Come on the risin’ wind,
We’re goin’ up around the bend

Oh

You can ponder perpetual motion,
Fix your mind on a crystal day,
Always time for a good conversation,
There’s an ear for what you say

Come on the risin’ wind,
We’re goin’ up around the bend.

Yeah

Oh

Catch a ride to the end of the highway
And we’ll meet by the big red tree,
There’s a place up ahead and I’m goin’
Come along, come along with me

Come on the risin’ wind,
We’re goin’ up around the bend

Yeah

Do do do do
Do do do do
Do do do do
Do do do do yeah
Do do do do
Do do do do

Neil Young – Heart Of Gold

A giant hit for Neil Young.

James Taylor and Linda Ronstadt sang backup on this song. They don’t come in until the end of the song. Like Young, Taylor and Ronstadt were in town to appear on The Johnny Cash Show (the song’s producer Elliot Mazer had produced Ronstadt’s 1970 Silk Purse album). Young convinced them to lend their voices to this track, and they came in the day after the rest of the song was completed.

This song was recorded in Nashville in just two takes. The musicians were not familiar with Young or the song. This spontaneity created just the right feel for the track…something that would have never come about through additional tweaking. This style of recording, where top-tier studio musicians are asked to give total focus to a take with little instruction, is something Bob Dylan often did.

By far, this was the biggest hit for Young as a solo artist, Peaking at #1 on the Billboard 100 in 1972…the Harvest album peaked at #1 a week earlier,

Linda Ronstadt: “We were sat on the couch in the control room, but I had to get up on my knees to be on the same level as James because he’s so tall. Then we sang all night, the highest notes I could sing. It was so hard, but nobody minded. It was dawn when we walked out of the studio.”

 

From Songfacts

With a straightforward metaphor and complete lack of pathos, this is not a typical Neil Young song. It finds him mining for a “heart of gold,” which depending on your perspective, is either a touching and heartfelt sentiment, or a mawkish platitude. Rolling Stone took the churlish view, complaining that the album evoked “superstardom’s weariest clichés.” The listening public and Young’s fans were far more accepting, and the song became his biggest hit.

Young wrote this in 1971 after he suffered a back injury that made it difficult for him to play the electric guitar, so on the Harvest tracks he played acoustic. Despite the injury, Young was in good spirits (possibly thanks to the painkillers), which is reflected in this song. The next few years were more challenging for Young, as he suffered a series of setbacks: His son Zeke was born with cerebral palsy, his friend Danny Whitten died, and he split with his girlfriend, Carrie Snodgress. His next three albums, which became known as “The Ditch Trilogy,” expressed these dark times in stark contrast to “Heart of Gold.”

This song was recorded at the first sessions for the Harvest album, which took place on Saturday, February 6, 1971 and were set up the night before.

Neil Young was in Nashville to record a performance for The Johnny Cash Show along with Tony Joe White, James Taylor and Linda Ronstadt. Elliot Mazer, a producer who owned nearby Quadrafonic Studios, set up a dinner party on February 5, inviting the show’s guests and about 50 other people. Mazer was friends with Young’s manager Elliot Roberts, who introduced the two at the gathering. Young and Mazer quickly hit it off when Neil learned that Elliot has produced a band called Area Code 615. Young asked if he could set up a session the next day, and Mazer complied.

Nashville has an abundance of studio musicians, but getting them to work on a Saturday could be a challenge. Mazur was able to get one member of Area Code 615: Drummer Kenny Buttrey. The other musicians he found were guitarist Teddy Irwin, bass player Tim Drummond, and pedal steel player Ben Keith. All were seasoned pros.

Keith, who had never heard of Neil Young, recalls showing up late and sitting down to play right away. He says they recorded five songs before they stopped for introductions.

A very influential musician, he was never too concerned about making hit records. His next-highest Hot 100 entry was his next single, “Old Man,” which reached #31.

At the time, Taylor and Young were huge stars, but Ronstadt had yet to land a big hit. Her talent was obvious to those around her, but poor song selection and promotion kept her from the top ranks. Young exposed her to arena crowds when he brought her along as the opening act on his Time Fades Away tour in early 1973, but it was another two years before she landed that elusive hit, going to #1 with “You’re No Good.”

In the liner notes to his Decade collection, Young said: “This song put me in the middle of the road. Traveling there soon became a bore so I headed for the ditch.”

This statement reflected Young’s aversion to fame, and was not meant to demean the song. In a later interview with NME, he clarified: “I think Harvest is probably the finest record I’ve made.”

Before separating them into two songs, Young wrote this together with “A Man Needs A Maid” as a piano piece – he described it as “like a medley.”

This was the song that tweaked Bob Dylan; Young had made no secret that he idolized Dylan, but when Dylan heard “Heart of Gold” he thought this was going too far. As quoted in Neil Young: Long May You Run: The Illustrated History, Dylan complained, “I used to hate it when it came on the radio. I always liked Neil Young, but it bothered me every time I listened to “Heart of Gold.” I’d say, that’s me. If it sounds like me, it should as well be me.”

“Heart Of Gold” is the name of the spaceship stolen by Zaphod Beeblebrox in Douglas Adams’ book, The Hitchhiker’s Guide to the Galaxy. 

Young became the first Canadian to have a #1 album in the US when Harvest topped the Billboard 200 for two weeks in April 1972.

This song appears in the 1984 film Iceman, and on the soundtrack of the 2010 movie Eat Pray Love.

Lady Gaga references this in her song “You and I.” The line goes, “On my birthday you sung me ‘Heart of Gold,’ with a guitar humming and no clothes.”

In 2005, the CBC Radio One series 50 Tracks: The Canadian Version declared “Heart of Gold” to be the third best Canadian song of all time.

Stryper frontman Michael Sweet covered this for his 2014 I’m Not Your Suicide album. He also recorded a second duet version with country artist Electra Mustaine, who is the daughter of Megadeth frontman Dave Mustaine.

Young revived the guitar riff for this song on CSN&Y’s “Slowpoke” in 1999.

Young has made it clear that the musicians who played on his tracks had a lot to do with their success. In an interview with the Musicians Hall of Fame, he said that “Heart of Gold” would not have been a hit without drummer Kenny Buttrey.

Tori Amos covered this on her 2001 album Strange Little Girls. She was trying to demonstrate how men and women hear different meaning in the same songs.

Heart of Gold

I want to live
I want to give
I’ve been a miner for a heart of gold.
It’s these expressions I never give
that keep me searching for a heart of gold
and I’m getting old.

I’ve been to Hollywood
I’ve been to Redwood
I crossed the ocean for a heart of gold
I’ve been in my mind, it’s such a fine line,
that keeps me searching for a heart of gold
and I’m getting old.