This song peaked at #12 in the Billboard 100 in 1978. Walsh lived this song out. He hung out with fellow stars such as Keith Moon. He said that Keith showed him the ropes of hotel destruction and Walsh was quite accomplished in that art.
The song was on his 4th album But Seriously, Folks… and it peaked at #8 in the Billboard Album Charts in 1978. This is Joe’s highest-charting song.
Joe Walsh:“I wanted to make a statement involving satire and humor, kind of poking fun at the incredibly silly lifestyle that someone in my position is faced with – in other words, I do have a really nice house, but I’m on the road so much that when I come home from a tour, it’s really hard to feel that I even live here. It’s not necessarily me, I think it paraphrases anyone in my position, and I think that’s why a lot of people related to it, but basically, that’s the story of any rock star – I say that humbly – anyone in my position. I thought that was a valid statement because it is a strange lifestyle – I’ve been around the world in concerts, and people say ‘What was Japan like?’, but I don’t know. It’s got a nice airport, you know… so it was kind of an overall statement.”
From Songfacts
This is a humorous look at the spoils of fame and fortune associated with being a rock star. Walsh pokes fun at the lifestyle of wealth and fame and the spoiled mentality – how it’s not me that’s changed, but everyone else.
Walsh lived up to this song, indulging in the hedonism he sang about long after it was released. “I started believing I was who everybody thought I was, which was a crazy rock star,” he told Rolling Stone in 2017. “It took me away from my craft. Me and a lot of the guys I ran with, we were party monsters. It was a real challenge just to stay alive.”
This is the last song on the the album. On the original recording from this album, the music fades away into silence. Then, about 30 seconds later, there is a really funny secret message from Joe Walsh which says “Wha-oh…here comes a flock of wanh-wanhs!”, followed by a chorale of “wannh”, “wanh” “wahn” (collectively sounding like a bunch of ducks or sheep). >>
The cover of the But Seriously Folks album shows Walsh eating a meal… under water. In the same BBC interview, he said: “I had to do that a couple of times, but I did go down to the bottom of the pool, and almost drowned… but it was fun. Not at the time, but it was fun to do. We weighted everything down, but it was very involved and it took a long time, and I was real proud of it. As long as you have access to art, or visually presenting something with your record, I would like to use that, pursue it and try to make it an integral part of the music. It was hard to do, but when I look at it, I can’t believe it either, I can’t believe I was stupid enough to do that, but I was proud of it. I won’t be repeating it, I can assure you!”
In 1979, Walsh announced his campaign for President of the United States, promising “Free gas for everyone” if he won (he didn’t).
A famous line in this song, “My Maserati does 185,” was used as the title to a 2005 episode of the TV series Entourage.
Joe did this to explain how he wrote it
Life’s Been Good
I have a mansion but forget the price Ain’t never been there, they tell me it’s nice I live in hotels, tear out the walls I have accountants, pay for it all
They say I’m crazy but I have a have a good time I’m just looking for clues at the scene of the crime Life’s been good to me so far
My Maseratti does one-eighty-five I lost my license, now I don’t drive I have a limo, ride in the back I lock the doors in case I’m attacked
I’m making records, my fans they can’t wait They write me letters, tell me I’m great So I got me an office, gold records on the wall Just leave a message, maybe I’ll call
Lucky I’m sane after all I’ve been through (Everybody say I’m cool, he’s cool) I can’t complain but sometimes I still do Life’s been good to me so far
I go to parties sometimes until four It’s hard to leave when you can’t find the door It’s tough to handle this fortune and fame Everybody’s so different, I haven’t changed
They say I’m lazy but it takes all my time (Everybody say oh yeah, oh yeah) I keep on goin’ guess I’ll never know why Life’s been good to me so far
I liked Hall and Oates until the early 80s when they started to use more of a formula.
Daryl Hall wrote this for his collaborator/girlfriend Sara Allen. She contributed to many of the duo’s hit singles, including “You Make My Dreams”, “Private Eyes”, “I Can’t Go for That (No Can Do)”, and “Maneater”.
They never got married, but Daryl and Sara were together for about 28 years before they broke up in 2001. In Entertainment Weekly October 16, 2009, Hall listed this as one of their favorite songs and explained: “That was a postcard to Sara Allen, who was my partner for many, many years, a ‘having a great time, wish you were here,’ kind of thing. I cannot tell you how many girls have told me they were named for it!”
Sara’s sister, Janna Allen, co-wrote their hit “Kiss On My List.” Janna died of leukemia in 1993 at age 36.
Sara Smile peaked at #4 in the Billboard 100 in 1976.
From Songfacts
The album’s cover photo by Mick Jagger’s makeup designer Pierre LaRoche is a glitzy shot of Hall and Oates in heavy makeup. John Oates talked about the eye-catching image in Nick Tosches’ biography Dangerous Dances: “We decided that if we were going to put our faces on an album cover for the first time we wanted to do it in a big way. Pierre said, in that French accent of his, ‘I will immortalize you!’ And he just did. To this day it’s the only album cover that people ask us about.”
David Bowie said that LaRoche was the best makeup artist he ever worked with.
According to Barry Rudolph, who was an engineer on the session, Hall sang his vocal live with the band. The only edit they made was to punch in over the word “Sara” in the beginning of the second chorus. With the backing vocals, Hall was trying to get them to sound like the doo-wop group The Dells.
In 2009, the country singer Jimmy Wayne recorded an updated version of this song with Hall & Oates. Wayne got his first record deal because of this tune after the Dreamworks executive Scott Borchetta heard him sing it, and it has been part of his concert repertoire ever since. Wayne said in publicity materials: “Over 13 years ago, I picked a Hall & Oates Greatest Hits CD out of a bargain box that sat outside the department store in the old Gaston Mall in Gastonia, North Carolina. I listened to the CD on my way home and I heard ‘Sara Smile’ for the first time. I began singing this song long before I knew how to play it on guitar, and I just felt like it was as if the song was written for me.”
The Jimmy Wayne updated version was Hall & Oates’ debut on the Hot Country Songs chart.
This song was performed on the episode “Tom, Sarah and Usher” of the Adult Swim show The Boondocks. In the episode, Tom DuBois starts to sing the song to his wife, when Usher comes in and sings the song a lot better.
Tommy Mottola, who would later become chairman of Sony Music and marry Mariah Carey, was Hall & Oates’ manager at the time. He had some experience as a musician (recording as “T.D. Valentine”) and is credited for playing keyboards on the Daryl Hall And John Oates album.
Chris Bond produced this track with Hall & Oates. According to Scott Edwards, who played bass on this song, much of its success is attributable to Bond. Says Edwards: “Chris Bond was the real impetus behind ‘Sara Smile,’ ‘Rich Girl,’ ‘She’s Gone’ for Hall & Oates. But he was never given the accolades he deserved. He’s the one in my mind that was really responsible for their success. They may have written the lyrics and the chords and all that, but Chris was the one who figured out the production and the projection of it. He was a really good arranger and he wrote out note for note. He knew exactly how long he wanted you to let a note ring, how to hit it, how to release it. He was a good guitar player, but he played all the instruments. So he was one person who really could write out everything and it would be great.” (Here’s our full Scott Edwards interview.)
As you can imagine, this is a tough song for Sara Allen to hear, and since it still shows up on many playlists she can’t always avoid it. Daryl Hall explained to American Songwriter: “When that song comes on, the reality hits that we’re not together anymore, so it’s a very poignant and hard thing for her to deal with. I can still sing that song today and feel real about it – and always will – because emotions don’t change even though circumstances change.”
This song has been performed a number of times on Daryl Hall’s show Live From Daryl’s House. Jimmy Wayne, Rumor, Monte Montgomery and Smokey Robinson have all done the song with Hall on the program. One artist who did not was Train, whose lead singer Pat Monahan asked Hall how he hit the high notes. “That surprised me,” Hall said in our 2015 interview. “Because Pat has a higher voice than me. Pat Monahan could sing that song in his sleep.”
Sara Smile
Baby hair with a woman’s eyes I can feel you watching in the night All alone with me and we’re waiting for the sunlight When I feel cold, you warm me And when I feel I can’t go on, you come and hold me It’s you and me forever
Sara smile Won’t you smile a while for me, Sara
If you feel like leaving, you know you can go But why don’t you stay until tomorrow? If you want to be free, you know, all you got to do is say so And when you feel cold, I’ll warm you And when you feel you can’t go on, I’ll come and hold you It’s you and me forever
Sara smile Won’t you smile a while for me, Sara Sara smile Won’t you smile a while for me, Sara
Smile Won’t you smile a while for me, Sara Oh smile a while, won’t you laugh Sara Make me feel like a man not keeping me crazy crazy Smile a while
The last time I saw Bob Dylan, Mavis Staples opened up the show. She gave a great performance and just knowing the history she represented was incredible. I remember the song “I’ll Take You There” when I was a kid but didn’t really start listening to the Staple Singers until I saw them on the Last Waltz playing The Weight.
This song peaked at #2 in the Billboard 100 in 1971.
The first two Stax albums The Staple Singers recorded were with Steve Cropper of the Stax house band, but by August 1971, when they recorded “Respect Yourself,” they were working with the Muscle Shoals Rhythm Section at their studios in Alabama.
At this time, the Staple Singers were recording what they called “message music,” and ads for the Be Altitude: Respect Yourself album billed it as “The message that rock music is still looking for.”
From Songfacts
The Staple Singers signed with the Memphis Soul label Stax Records in 1968, where they found success after languishing at Epic. “Respect Yourself” was written by the Stax songwriter Mack Rice and one of their artists, Luther Ingram, who is best known for his song “(If Loving You Is Wrong) I Don’t Want to Be Right.” They wrote the song after a discussion where Ingram said to Rice, “Black folk need to respect themselves.” Rice decided to turn the idea into a song, and quickly cut a demo. He didn’t think it was right for The Staple Singers, but Stax vice-president Al Bell did, stating, “I heard that lyric and I heard that melody and I said, ‘that’s it. This is the song I’ve been waiting on.'”
They slowed down the tempo of Rice’s demo and did a lot of experimenting in the studio. Terry Manning, who engineered the session, said: “It was kind of like all or nothing. We consciously put majors and minors together and rock and blues together. It was a lot of elements trying to fuse together, purposely putting little high tinklely sounds to catch kids’ ears, and just seeing if it would work.”
In the liner notes to the 2011 remaster of the Be Altitude: Respect Yourself album, Stax biographer Rob Bowman points out some of the things to listen for in this song:
Roger Hawkins using the rim of his snare and a wet-to-dry sound on the hi-hat. A fuzzed electric guitar line that gets louder as the song fades out at the end. This was supposed to have a subliminal effect on the listener. Mavis Staples blasting into the words “big ole man” at the end of the second verse. The scat singing on two 4-bar sections, which was written as horn lines. On the demo, Mack Rice did the scatting to show where the horns would be, but The Staples sang it anyway, and the results were so good they decided to leave it in.
A cover version was a #5 hit in the US for Bruce Willis in 1987. He was the first white male solo act to hit the Top 5 with a record on the Motown label, and only the second white male solo act – after R. Dean Taylor’s “Indiana Wants Me” – to be so successful for the Motown Corportation.
The very first Soul Train dance line was to this song. The show went on the air in 1971, but the famous segment where dancers showed off their moves grooving down the line didn’t start until five episodes in, when host/creator Don Cornelius realized the dancers were the big draw.
Respect Yourself
If you disrespect anybody that you run in to How in the world do you think anybody’s s’posed to respect you If you don’t give a heck ’bout the man with the bible in his hand, y’all Just get out the way, and let the gentleman do his thing You the kind of gentleman that want everything your way, yeah Take the sheet off your face, boy, it’s a brand new day
Respect yourself, respect yourself, respect yourself, respect yourself If you don’t respect yourself Ain’t nobody gonna give a good cahoot, na na na na Respect yourself, respect yourself, respect yourself, respect yourself
If you’re walking ’round think’n that the world owes you something ’cause you’re here You goin’ out the world backwards like you did when you first come here yeah Keep talkin’ bout the president, won’t stop air pollution Put your hand on your mouth when you cough, that’ll help the solution Oh, you cuss around women and you don’t even know their names, no Then you’re dumb enough to think that’ll make you a big ol’ man
Respect yourself, respect yourself, respect yourself, respect yourself If you don’t respect yourself Ain’t nobody gonna give a good cahoot, na na na na Respect yourself, respect yourself, respect yourself, respect yourself
This anthology supernatural series ran from 1972-1973. Like most of these types of series, it flowed from the original Twilight Zone. It wasn’t as smart (hardly anything is) but it was entertaining. It involved satanic cults, ghosts, killer dogs, twin turmoil, and so much more. And while some of the stories come off as simplistic (most really don’t have a twist), they all have something to offer… an intriguing plot or an interesting performance. It’s as I said, a solid batch of stories.
It was originally called “Ghost Story” and Winston Essex (Sebastian Cabot) opened each episode by taking the audience into his spooky old mansion and introducing the plot, which could range from a vampire preying on college students to a ghost haunting a house to an old man using voodoo against his own family. On January 5, 1973, the series changed its title to “Circle of Fear“, the Essex character was no longer part of the show, and the stories didn’t always feature supernatural themes.
It’s been sadly forgotten…if you like the supernatural it’s worth a watch.
The bassist and songwriter for British bands the Small Faces and the Faces, Lane gave it all up for a curious solo career: he ran away and formed a circus. After he quit the Faces he released this single.
Ronnie started his own folk-country band named “Slim Chance” and released a surprise hit single “How Come?” in 1974 and it went to #11 in the UK. Ronnie had a unique idea of touring. His tour was called “The Passing Show” which toured the countryside with a circus tent and included a ringmaster and clowns.
During the recording of the album “Rough Mix” with Pete Townshend… Lane was diagnosed with was Multiple Sclerosis. He still toured with Eric Clapton and others afterward and released an album in 1979 called “See Me.”
Ronnie Lane died of Pneumonia while in the final stages of Multiple Sclerosis in 1997
How Come?
How come when I cut the ace of hearts You always draw the ace of spades? How’s it when your best friend Brings you lillies on your birthday?
How come, how come? Well, I ain’t superstitious, but Well, these things I’ve seen How come, how come? I ain’t a superstitious fella, but it worries me
How come when the local clergy calls He tells me that you shouldn’t wear black And what kind of bread are you gonna bake With that hemlock in your spice rack?
How come, how come? Well, I ain’t superstitious, but Well, these things I’ve seen How come, how come? I ain’t a superstitious fella, but it worries me
The spider’s run, the cobweb’s gone Did you eat it when the moon was new? I drowned your cat, what do you say about that? I’ve even broken up your broom
How come, how come? Well, I ain’t superstitious, but Well, these things I’ve seen How come, how come? I ain’t a superstitious fella, but it worries me
How come, how come? Well, I ain’t superstitious, but Well, these things I’ve seen How come, how come? I ain’t a superstitious fella, but it worries me
The Rubinoos are an American power pop band that formed in 1970 in Berkeley, California. Their only chart hit was a cover of Tommy James “I Think We’re Alone Now” in 1977.
This song was released in 1979 from the album “Back To The Drawing Board.” They had a resurgence in popularity because of the below claim.
Avril Lavigne had a song called Girlfriend…The writers of The Rubinoos song sued Lavigne in 2007 over the similarities. Avril responded with this statement: “I had never heard this song in my life and their claim is based on five words! All songs share similar lyrics and emotions. As humans we speak one language. Let it be crystal clear that I have not ripped anyone off or done anything wrong.”
The Rubinoos made a statement afterward: “We are satisfied that any similarities between the two songs resulted from Avril and Luke’s use of certain common and widely used lyrics. We therefore completely exonerate Avril and Luke from any wrongdoing of any kind in connection with the claims made by us in our lawsuit.”
They released a new album in 2019 called From Home.
I Wanna Be Your Boyfriend
Sitting here so close, together So far we’re just friends, but I’m wondering whether I, am I just imagining You, or do you really have a thing for me Like I think I see when I see you smile And the smile’s for me, I wanna tell you…Hey, You, I Wanna Be Your Boyfriend Trying to say I wanna be your number one Hey, You, I Wanna Be Your Boyfriend Gonna make you love me before I’m done late at night when I, when I can’t sleep Picture in my mind, I see you and me I, I’m telling you what I wanna be You, you’re saying you’re in love with me And oh, it feels so good in a dream That I know in life it’s just got to be I wanna tell you……Gonna make you love me, yeah I’m Gonna make you love me, yeah I’m Gonna make you love me, before I’m done
I, am I just imagining You, or do you really have a thing for me Like I think I see when I see you smile And the smile’s for me, I wanna tell you… Hey, You, I Wanna Be Your Boyfriend Trying to say I wanna be your number one Hey, You, I Wanna Be Your Boyfriend Gonna make you love me, yeah I’m Gonna make you love me, yeah I’m Gonna make you love me before I’m done
My favorite band from Cleveland. This song was on their Side 3 album released in 1973. The album only charted at #138 in the Billboard album charts. The song was released as a single but it didn’t chart.
The following year the band would give it one more shot with Starting Over and they would have one more top twenty single…Overnight Sensation. After that Eric Carmen lost his edge and was All By…himself.
Anyway, a Raspberries song is a good way to start your weekend…
Ecstacy
Come on!
When I think of all your lovin’ it makes me shiver ‘Cause when I get home Just wait ’til I get you alone
Ecstasy When you touch me I’m in ecstasy No one else could do the things you do Let me please you too Tonight
Ecstasy When you kiss me I’m in ecstasy No one else could make me feel this way Tell me that you’ll stay Tonight
When you wrap your love around me and move so gently, yeah I feel it begin Don’t stop, I can feel my head spinning
Baby, baby, I just wanna make you Feel the way I do You got my backbone shakin’ And my poor heart’s breakin’ in two
This was the first AC/DC song to chart in the US. It helped drive huge sales for the Highway To Hell album, which has sold over seven million copies in America. It was AC/DC’s sixth album, and the last with vocalist Bon Scott, who died in 1980. The song charted at #37 in Billboard 100 in 1979.
Angus Young described Highway to Hell about touring in American but Highway to Hell’s origin was the nickname for the Canning Highway in Australia. It runs from where lead singer Bon Scott lived in Fremantle and ends at a pub/bar called The Raffles, which was a big rock ‘n roll drinking hole in the ’70s. As Canning Highway gets close to the pub, it dips down into a steep decline.
Brian Johnson: “It was written about being on the bus on the road where it takes forever to get from Melbourne or Sydney to Perth across the Nullarbor Plain. When the Sun’s setting in the west and you’re driving across it, it is like a fire ball. There is nothing to do, except have a quick one off the wrist or a game of cards, so that’s where Bon came up with the lyrics.”
From Songfacts
So many people where killed by driving fast over that intersection at the top of the hill on the way for a good night out, that it was called the highway to hell, so when Bon was saying “I’m on the highway to hell” it meant that he was doing the nightly or weekly pilgrimage down Canning Highway to The Raffles bar to rock and drink with his mates: “Ain’t nothing I would rather do. Going down, party time, my friends are gonna be there too.”
Mutt Lange, who has also worked with The Cars, Bryan Adams, and Def Leppard (and Shania Twain, who he was married to from 1993-2008), produced the album. Lange took over after after failed sessions with Eddie Krammer, who had a solid resumé that included work with Led Zeppelin and Jimi Hendrix, but whose procedural style didn’t work for AC/DC.
Lange was able to enhance the band’s sound without altering their essence. On this song, he added robust background vocals to the choruses – something AC/DC didn’t do on their previous efforts. This and other production refinements helped made the song a hit and expand their audience.
Recorded in London, Highway To Hell was the first AC/DC album recorded outside of Australia. The album cover had Angus Young on the cover wearing his schoolboy uniform and devil horns. Some religious groups found this quite offensive.
Serial killer Richard Ramirez claimed this album compelled him to murder. He believed AC/DC stood for “Anti Christ/Devil’s Child.”
In the film School of Rock Jack Black teaches the riff to the guitarist in the band. The song was also featured in the Movie Little Nicky, starring Adam Sandler.
The AC/DC bluegrass tribute band Hayseed Dixie covered this on their 2001 album, A Hillbilly Tribute To AC/DC.
AC/DC performed this at the Rock and Roll Hall of Fame ceremony when they were inducted in 2003. Aerosmith lead singer Steven Tyler inducted them, saying, “There is no greater purveyor of the power chord.”
The chorus to the song was used in the 2010 movie Percy Jackson and the Olympians: the Lightning Thief.
A campaign to make the this the top song on the UK singles chart for Christmas 2013 resulted in a #4 placing and AC/DC’s first top 10 British hit in a 40-year career. The Anglo-Australian hard rockers had previously been the most successful act never to have had a Top 10 hit single in the UK, having achieved a grand total of 30 chart entries, none of which have ever peaked any higher than #12 (that honor went to 1988 hit “Heatseeker”).
When this song was released, there really was a “Highway to Hell” in America: Route 666. This section of highway ran through Arizona and Utah; it was later renumbered after various ghost stories emerged about unexplained happenings on the road.
AC/DC, who didn’t win their first Grammy Award until 2010 (Best Hard Rock Performance for “War Machine”), played this at the 2015 ceremony. They opened the telecast with “Rock or Bust,” then segued into “Highway.”
This is the song that gets Peter Griffin banished from Amish country on the Season 10 episode of Family Guy titled “Amish Guy.” Looking to introduce the Amish to rock and roll, he produces a boom box and plays the song for their leader, who does not approve.
When AC/DC was accused of backmasking Satanic messages on their Highway To Hell record, Angus Young responded: “You didn’t need to play [the album] backwards, because we never hid [the messages]. We’d call an album Highway To Hell, there it was right in front of them.”
Highway To Hell
Livin’ easy Lovin’ free Season ticket on a one way ride Askin’ nothin’ Leave me be Takin’ everythin’ in my stride Don’t need reason Don’t need rhyme Ain’t nothin’ that I’d rather do Goin’ down Party time My friends are gonna be there too
I’m on the highway to hell On the highway to hell Highway to hell I’m on the highway to hell
No stop signs Speed limit Nobody’s gonna slow me down Like a wheel Gonna spin it Nobody’s gonna mess me around Hey, Satan Payin’ my dues Playin’ in a rockin’ band Hey, mamma Look at me I’m on the way to the promised land
I’m on the highway to hell Highway to hell I’m on the highway to hell Highway to hell
Don’t stop me
I’m on the highway to hell On the highway to hell I’m on the highway to hell On the highway to hell
(highway to hell) I’m on the highway to hell (highway to hell) highway to hell (highway to hell) highway to hell (highway to hell)
And I’m goin’ down All the way I’m on the highway to hell
What a great song from The Faces. The song was written by Ronnie Lane and Ronnie Wood and sung by Wood. That is strange because The Faces had one of the best lead singers around at the time…Rod Stewart.
Stewart by this time was soaring as a solo artist and his interest in the Faces was waning. He claimed the song was not in his key to sing. He did do vocals for it then and Lane but Wood ended up singing the released version.
The Faces had one big hit…Stay With Me but this song is their greatest song to me. Rod Stewart finally covered the song in 1998 for a tribute to Ronnie Lane. Ronnie Lane did his own version with his band Slim Chance. Ronnie Wood also does it live in solo shows.
A song between Granddad and Son about the ways of love. The song never ages because the subject matter never changes and it is continually passed along. The song creates an atmosphere and Wood who is not known for his singing ability did a great job on this one.
The song was included in the 1998 film Rushmore and enjoyed renewed popularity.
It’s one of my favorite songs of all time. Just a beautiful melody and words.
Ohh La La
Poor old granddad I laughed at all his words I thought he was a bitter man He spoke of woman’s ways
They’ll trap you, then they use you Before you even know For love is blind and you’re far too kind Don’t ever let it show
I wish that I knew what I know now When I was younger I wish that I knew what I know now When I was stronger
The can can’s such a pretty show They’ll steal your heart away But backstage, back on earth again The dressing rooms are gray
They come on strong and it ain’t too long Before they make you feel a man But love is blind and you soon will find You’re just a boy again
When you want her lips, you get a cheek Makes you wonder where you are If you want some more and she’s fast asleep Then she’s twinkling with the stars
Poor young grandson, there’s nothing I can say You’ll have to learn, just like me And that’s the hardest way Ooh la la, ooh la la la yeh
I wish that I knew what I know now When I was younger I wish that I knew what I know now When I was stronger
This curiosity was born in the seventies. It was when TV stars were connected with their home network. ABC, CBS, and NBC would all send stars to compete with each other. I will admit it was fun to watch. You would see Telly Savalas, Lynda Carter, Kristy McNichol (remember her?) compete with each other with no other than Howard Cossell announcing.
Regular events included swimming, kayaking, volleyball, golf, tennis, bowling (on custom-made outdoor lanes), cycling, 3-on-3 football, the baseball dunk, running, and the obstacle course. As a pre-teen boy, I still remember Kristy McNichol was great on the obstacle course.
TV now is so fragmented that it would not work. They did try to bring it back in 2017 but it wasn’t the same and fewer viewers viewed with every episode. The networks didn’t want to share their actors with rivals. All of the contestants were from the Disney owned networks or older casts from long ago shows.
The original show ran from 1976 to 1988… Some of the Contestants are below the video.
Some of the Contestants
Howard Cosell
Gabe Kaplan
Darleen Carr
Lynda Carter
Farrah Fawcett
Richard Hatch
Robert Hegyes
Ron Howard
Hal Linden
Penny Marshall
John Schuck
Telly Savalas
Adrienne Barbeau
Gary Burghoff
Kevin Dobson
Pat Harrington Jr.
Bill Macy
Lee Meriwether
Mackenzie Phillips
Loretta Swit
Jimmie Walker
Robert Conrad
Melissa Sue Anderson
Karen Grassle
Tim Matheson
Ben Murphy
Barbara Parkins
Joanna Pettet
Kevin Tighe
Demond Wilson
Mark Spitz
Peter Lawford
Lona Barrett
Caitlyn Jenner
Bob Rosburg
Reggie Jackson
Nadia Comaneci
Joyce Brothers
Robert Stack
Roosevelt Grier
Howard W. Koch
Free ended up being the blueprint for Bad Company. Two of the band members were in the latter group. With a voice Paul Rodgers possesses, I’ve wondered why he isn’t more of a household name outside of the world of rock. He was in successful rock groups such as Free, Bad Company, The Firm, The Law and toured with Queen.
Free was known as a great live band but I’ve only known them as the band before Bad Company. To my surprise by the time they disbanded, they had sold more than 20 million albums around the world. I have never been a fan of some of Rodgers’s songwriting but his voice can carry any song.
Paul Kossoff was the guitar player and influenced a generation of guitar players before and after his early death in 1976.
This song peaked at #13 in the UK charts in 1972. The band formed in 1968 and disbanded in 1973. They are known for their hit All Right Now.
I first heard A Little Bit Of Love on theLife On Mars BBC television show that I have shamelessly plugged since I’ve been posting. It’s only 16 episodes long…if you get a chance to watch it I think you will enjoy it…The UK version NOT the American version.
A Little Bit Of Love
I believe If you give A little bit of love To those you live with A little bit of love Oh oh oh Has gotta come your way.
Well in my mind It’s easy To lose sight of the truth But in my heart I can’t deny My feeling inside
‘Cos I believe If you give A little bit of love To those you live with A little bit of love Oh oh oh Has gotta come your way.
Man in the sky You say you are flying To lose sight of the world You wanna stay high Then don’t deny Your feeling inside
‘Cos I believe If you give A little bit of love To those you live with A little bit of love Oh oh oh Has gotta come your way.
Yeahh! Whooo!
I believe If you give A little bit of love To those you live with A little bit of love Oh! Has gotta come your way.
I believe If you give A little bit of love To those you live with A little bit of love Whooooo Has gotta come your way
The rhythm of this song drew me in when I was younger. Jive Talkin’ has a strong R&B feel to it. This song started it all for the disco era Bee Gees. This was the first big disco hit for The Bee Gees. They became icons of the era, singing in falsetto harmonies over dance beats.
You couldn’t go anywhere without hearing them blare out of the radio at that time. This song peaked at #1 in the Billboard 100, #1 in Canada, 5 in the UK, and #4 in New Zealand in 1975.
The Bee Gees had an incredible 9 Number 1 hits, 15 Top Ten hits, and 43 songs in the Billboard 100. They have sold more than 220 million records worldwide, making them one of the world’s best-selling artists of all time
From Songfacts
This was called “Drive Talking” in its early stages, but producer Arif Mardin suggested the change to “jive” to play to teenage sensibilities. “Jive Talkin'” is a term for slang.
The rhythm was inspired by the chunka-chunka-chunka sound of a car rolling over a bridge crossing Biscayne Bay near Miami. Robin Gibb explained to The Mail On Sunday November 1, 2009: “We’d already thought up the title for this song, but it wasn’t until Barry, Maurice and I drove from Biscayne Bay to Miami that we realized what the tune was going to be. We had the idea as we passed over a bridge. Some tar noises made a rhythmic sound on the wheels of our car, which created the feel to the type of song we wanted to write. We finished the song at the Criteria studios that day.”
They had seven more #1 hits in the disco era, but the band went out of style at the same time as white leisure suits. The group, which had considerable success before the disco era, took a lot of heat in the press. This criticism would weigh on them in later years as they felt that accusations of selling out and creating popular schlock were out of line. They would often point out that disco became homogenized in the years after they got to it, and that their sound was really an extension of R&B.
This was a comeback song for the group. They were very successful as contemporary singers in the late ’60s and early ’70s, but the two albums they released before Main Course flopped, and it looked like their careers were over.
Knowing that a new Bee Gees single would be met with skepticism by radio programmers, their label sent promotional singles to stations with plain, white labels, giving no indication as to what the name of the song was, or who it was by. The plan worked: the song was added to playlists and revived the fortunes of the group.
Along with several other Bee Gees hits, this was featured on the soundtrack to Saturday Night Fever in 1977. Along with “You Should Be Dancing,” it was one of two previously released Bee Gees songs used – they wrote five more specifically for the film. The set became the best-selling soundtrack album of all time, until it was outsold by The Bodyguard soundtrack.
This was an R&B track that did very well in the black charts in America. The Bee Gees were one of the first white groups to explore that territory.
Former Fugees singer Pras sampled this on his song “Blue Angels.”
Jive Talking
It’s just your jive talkin’ You’re telling me lies, yeah Jive talkin’ You wear a disguise Jive talkin’ So misunderstood, yeah Jive talkin’ You really no good
Oh, my child You’ll never know Just what you mean to me Oh, my child You got so much You’re gonna take away my energy
With all your jive talkin’ You’re telling me lies, yeah Good lovin’ Still gets in my eyes Nobody believes what you say It’s just your jive talkin’ That gets in the way
Oh my love You’re so good Treating me so cruel There you go With your fancy lies Leavin’ me lookin’ Like a dumbstruck fool With all your
Jive talkin’ You’re telling me lies, yeah Jive talkin’ You wear a disguise Jive talkin’ So misunderstood, yeah Jive talkin’ You just ain’t no good
Love talkin’ Is all very fine, yeah Jive talkin’ Just isn’t a crime And if there’s somebody You’ll love till you die Then all that jive talkin’ Just gets in your eye
Jive talkin’ You’re telling me lies,yeah Good lovin’ Still gets in my eyes Nobody believes what you say It’s just your jive talkin’ That gets in the way
Love talkin’ Is all very fine, yeah Jive talkin’, just isn’t a crime And if there’s somebody You’ll love till you die Then all that jive talkin’ Just gets in your eye, yeah yeah
This song changes my mood as soon as it plays. Into the Mystic flows through you…wait… hold on… I’m sounding like a sixties guru but the song is a special one. It was on his album Moondance released in 1970. The album peaked at #29 in the Billboard Album Charts.
Van’s output from the late sixties to mid-seventies was just incredible in quantity and quality. He continues to this day releasing music. In the last 10 years, he has had 3 top ten albums.
I’ve never really tried to interpret this song…I just go where it takes me.
Van Morrsion: “‘Into the Mystic’ is another one like ‘Madame Joy’ and ‘Brown Eyed Girl’. Originally I wrote it as ‘Into the Misty’. But later I thought that it had something of an ethereal feeling to it so I called it ‘Into the Mystic’. That song is kind of funny because when it came time to send the lyrics in WB Music, I couldn’t figure out what to send them. Because really the song has two sets of lyrics. For example, there’s ‘I was born before the wind’ and ‘I was borne before the wind’, and also ‘Also younger than the son, Ere the bonny boat was one’ and ‘All so younger than the son, Ere the bonny boat was won’ … I guess the song is just about being part of the universe.”
From Songfacts
This is about a sailor at sea thinking about returning to his lover, who is back on land. Normally a foghorn signals danger, but in this case it means he is close to home and his love.
There is room for interpretation beyond the superficial meaning. It might be interpreted as expressing an understanding that life is finite (the ship sailing on its round trip) and must be lived to its fullest (“I want to rock your Gypsy soul”), and an acceptance of its inevitable end (“We will magnificently float into the mystic, when the foghorn blows I will be coming home”). When you have seen the world and loved someone, you should have no reason to fear the end because you have lived your life to the fullest.
The original title was “Into the Misty.”
According to Morrison, he couldn’t decide whether the first line should be “We were born before the wind” or “We were borne before the wind.”
This was played in the 1989 Mary Stuart Masterson movie Immediate Family. She played a woman who was young and pregnant and planning to give her baby to Glenn Close and James Woods, who couldn’t have a baby of their own.
According to a BBC survey, because of this song’s cooling, soothing vibe, this is one of the most popular songs for surgeons to listen to whilst performing operations.
Jen Chapin, the daughter of Cat’s In The Cradle singer-songwriter Harry Chapin, covered this on her 2008 CD Light of Mine.
Into The Mystic
We were borne before the wind Also younger than the sun Ere the bonnie boat was won As we sailed into the mystic
Hark, now hear the sailors cry Smell the sea and feel the sky Let your soul and spirit fly into the mystic
And when that foghorn blows I will be coming home And when the foghorn blows I want to hear it
I don’t have to fear it and I want to rock your gypsy soul Just like way back in the days of old And magnificently we will flow into the mystic
When that fog horn blows You know I will be coming home And when that fog horn whistle blows I got to hear it
I don’t have to fear it and I want to rock your gypsy soul Just like way back in the days of old And together we will flow into the mystic Come on, girl
The Undertones were a Northern Irish punk band led by Feargal Sharkey. This song got them a record deal when British DJ John Peel played it on his show. Peel was a very influential and well-respected DJ, and he raved about this, even playing the song twice in a row, something he never did before. With Peel’s endorsement, it became a punk anthem and got the group signed to Sire Records.
The song peaked at #31 in the UK in 1978. The Undertones had 7 Top 49 UK hits.
From Songfacts
Sharkey: “Our only hope was John Peel, and we sent him a copy – that was the only copy we sent anyone”
Peel died October 25, 2004. This was played at his funeral.
Guitarist John O’Neill (from Q Magazine): “In 1978 we didn’t think ‘Teenage Kicks’ was the best song. True Confessions was the one we thought people would go for and we only named the EP after it because we were teenagers and it seemed appropriate. When John Peel played it twice on his show we were in shock. I came-up with the title. I was an MC5 fan and they had a song called Teenage Lust and we used to cover Route 66, so with the licks in the chorus I just made the connection. I was actually shocked that there wasn’t already a song called Teenage Kicks because it’s an obvious cliché. To be honest, I still don’t think the song;s that good – it’s the band’s performance on record that gives it the special quality. We were just the right age at the right time. It’s the strength of the voice, and the urgency of the drums and guitars, it seemed to capture the moment.”
A boy band called Busted performed this at the Brit Awards in 2003.
The Undertones went on to have several UK hits, including “My Perfect Cousin.” They split in 1983, but reformed in 1999 with Sharkey replaced by former Carralines singer Paul McLoone when Sharkey refused to participate. Sharkey had a solo hit with his cover of the Maria McKee song “A Good Heart,” which went to #1 in the UK in 1985. In the ’90s, Sharkey worked in the business end of the music industry as A&R manager for Polydor Records.
The line, “teenage dreams so hard to beat” from this song was carved on John Peel’s gravestone. His widow, Sheila Ravenscroft said: “We have put the words on the stone that he would have wanted. I wouldn’t dare do anything else.”
Bass player Mickey Bradley never rated the song. He told Mojo magazine April 2013: “We didn’t mind it being released, but we didn’t think it was special on its own. I remember someone at the Casbah saying, ‘Teenage Kicks’ – that’s your big song isn’t it?’ So we recorded some newer songs, which we thought were as good. But they weren’t.”
Teenage Kicks
Are teenage dreams so hard to beat? Everytime she walks down the street Another girl in the neighbourhood Wish she was mine, she looks so good
I wanna hold her, wanna hold her tight Get teenage kicks right through the night
I’m gonna call her on the telephone Have her over ’cause I’m all alone I need excitement, oh, I need it bad And it’s the best I’ve ever had
I wanna hold her, wanna hold her tight Get teenage kicks right through the night, all right
Are teenage dreams so hard to beat? Everytime she walks down the street Another girl in the neighbourhood Wish she was mine, she looks so good
I wanna hold her, wanna hold her tight Get teenage kicks right through the night, all right
I’m gonna call her on the telephone Have her over ’cause I’m all alone I need excitement, oh, I need it bad And it’s the best I’ve ever had
I wanna hold her, wanna hold her tight Get teenage kicks right through the night, all right
I wanna hold her, wanna hold her tight Get teenage kicks right through the night, all right
This is the version I like best…and I love Ben E. King’s version. I think it’s the reverb and John’s voice that makes this one the one I listen to the most.
“Stand By Me” was the name of a gospel hymn written by the Philadelphia minister Charles Albert Tindley in 1905. His hymn became popular in churches throughout the American South and was recorded by various gospel acts in the 1950s. The most popular adaptation was by The Staple Singers, who recorded it in 1955. It was this version that Ben E. King heard; he pushed The Drifters to record it, but the group’s manager rejected it.
Ben E. King, Jerry Leiber, and Mike Stoller wrote the song based off the old hymn.
This was on John Lennon’s Rock and Roll album (made up of entirely covers of mostly 50s Rock and Roll). This version peaked at #20 in the Billboard 100 in 1975 for John…and at #4 in 1961 for Ben E. King.
Ben E King: “David Ruffin from the Temptations did a great version of it. And, of course, the one that held up in my head the most was John Lennon’s version. He took it and made it as if it should have been his song as opposed to mine.
From Songfacts
Ben E. King recorded this shortly after leaving The Drifters in 1960. It gave him a solid reputation as a solo artist.
After leaving The Drifters, King auditioned for the wildly successful songwriting/production team of Jerry Leiber and Mike Stoller, singing a few popular songs before doing what he had of “Stand By Me,” which was just a few lines of lyrics with some humming to fill in the words. He agreed to collaborate on the song with Leiber and Stoller, who gave it a more contemporary sound and polished it into a hit. The bassline at the beginning was Stoller’s idea.
The song was credited as being written by Leiber, Stoller and King. Charles Albert Tindley, who composed the original hymn, was left off the composer credits as his work had been sufficiently transformed. This wasn’t the first time Tindley was omitted from the credits of a song he originated: he also wrote “I’ll Overcome Someday,” which eventually became “We Shall Overcome.”
In an interview with the TV station WGBH, Jerry Leiber explained: “Ben E. is not a songwriter, he’s a singer, he might have written two songs in his whole career. I would guess that this comes out of church. The whole ‘stand by me’ and the way the release takes out, it sounds like a gospel-type song.”
This was used in the 1986 movie of the same name starring River Phoenix. The film was based on a short novel by Stephen King called The Body, but that title was a little to gruesome for a movie hoping to appeal to a wide audience.
Rob Reiner, who directed the film, met the song’s co-writter Mike Stoller at a party, and convinced him to play some of his classic songs on a piano while Reiner sang along. Months later, Reiner got the idea to use “Stand By Me” as the title and incorporate it into the movie when he heard the song at his house. This played up the friendship of the young boys in the film and downplayed the role of the dead body they find, which was a good move at the box office. The movie was a hit and propelled the song back to the charts, introducing the track to a new generation.
When this was first released in 1960, it charted US #4 and UK #27. When it was re-released to coincide with the movie, it hit US #9 and UK #1. Now a hit with two generations, the song started showing up at weddings and other special occasions, becoming a timeless classic.
The movie Stand By Me is set in 1959 – a little before this song was released, but pretty close. When Rob Reiner asked to use the song, its composers Leiber and Stoller thought he would want to re-record it with a contemporary artist like Tina Turner, but Reiner wanted the original so it fit the era. It was surprising then when the song vaulted up the charts, since it was the exact same song released in 1961.
According to BMI, this was the fourth most-played track of the 20th Century on American radio and TV.
This song has made an astounding nine appearances on the US Hot 100, plus two more that “bubbled under.” Here’s the breakdown:
1961, #4 – Ben E. King 1964, #102 – Cassius Clay 1965, #75 – Earl Grant 1967, #12 – Spyder Turner 1970, #61 – David & Jimmy Ruffin 1975, #20 – John Lennon 1980, #22 – Mickey Gilley 1985, #50 – Maurice White 1986, #9 – Ben E. King (re-release) 1998, #82 – 4 The Cause 2010, #109 – Prince Royce
Sean Kingston sampled this on his 2007 hit “Beautiful Girls.” Other songs that have used pieces of “Stand By Me” include “A Little Bit of Soap” by De La Soul (1989), “My Darlin'” by Miley Cyrus feat. Future (2013), and “Marvin Gaye” by Charlie Puth (2015).
Dionne Warwick sang backup on this song as part of a trio known as The Gospelaires. Soon after, songwriter Burt Bacharach helped Warwick launch a successful solo career.
This was not released on an album until it had been out as a single for two years.
Cassius Clay (who would later change his name to Muhammad Ali) recorded this in 1963 on an album called I Am The Greatest!. In 1964, when he beat Sonny Liston to become the heavyweight boxing champ, Clay’s version of “Stand By Me” was released as a single, with his spoken-boast song called “I Am The Greatest” as the flip side. The single made the Billboard charts, bubbling under at #102 on the Hot 100.
During an interview with Spinner UK, Now there’s a [Dominican] singer named Prince [Royce] – he has a version out there that I think is brilliant. And then there’s Sean Kingston, with ‘Beautiful Girls’ [chuckles] – that’s another one that did well. So many of them have done well. As a songwriter, it pleases me a lot – you don’t always have a chance to write a song that people can relate to.”
The Bachata singer Prince Royce released a cover of this song (with mostly Spanish lyrics) in 2010 as his first single. Royce had been selling cell phones in New York City when he started shopping his demo CD around. When he got little reaction to the songs he wrote, he decided to record one that was familiar, and he chose “Stand By Me” because it was one of his favorite songs. The ploy worked, as it garnered attention and jumpstarted his career.
Florence + The Machine covered the song for Final Fantasy XV. Her version features in the video game’s trailer. “I’ve always seen Final Fantasy as mythical, beautiful and epic,” Florence Welch said. “‘Stand By Me’ is one of the greatest songs probably of all time and you can’t really improve on it, you just have to make it your own. For me it was just about bringing the song into the world of Florence + The Machine and the world of Final Fantasy.”
In England, this was used in commercials for Levi’s jeans in 1987 before the movie was released there. The exposure helped lift the song to #1 UK. “When A Man Loves A Woman” by Percy Sledge, used in the same group of Levi’s ads, went to #2 at the same time.
Budweiser used a version of this song by Skylar Grey in a commercial that aired during the 2018 Super Bowl between the Philadelphia Eagles and New England Patriots. The spot shows the beermaker’s plant in Cartersville, Georgia transforming to process water as part of disaster relief efforts in the wake of hurricanes and wildfires.
This has been played at countless weddings, but none more prominent than the royal wedding between Prince Harry and Meghan Markle on May 19, 2018. Before exchanging their vows in Windsor Castle, Karen Gibson and The Kingdom Choir performed a stirring gospel rendition of the song, which was chosen by the couple.
An ambient version by the artist Bootstraps (Jordan Beckett) got the attention of music supervisors and landed a number of placements, including the Power Rangers movie (2017) and episodes of MacGyver, Lethal Weapon and Hawaii Five-0.
Bootstraps included the song on his 2016 album Homage at the last minute. In a Songfacts interview, he explained why it works so well in visual media. “A lot of my songs that have done really well in the sync world are pretty linear – they don’t have these big, huge chorus hits,” he said. “‘Stand By Me,’ which has hands down been the biggest sync song I’ve done, has no kick drum. It has a lot of atmospherics, and the chorus is kind of slowly growing into a swell. So it’s really good for an editor, and that’s just the pragmatics of TV and film.”
Stand By Me
When the night has come
And the land is dark
And the moon is the only light we see
No I won’t be afraid
No I won’t be afraid
Just as long as you stand, stand by me
And darling, darling stand by me
Oh, now, now, stand by me
Stand by me, stand by me
If the sky that we look upon
Should tumble and fall
And the mountain should crumble to the sea
I won’t cry, I won’t cry
No I won’t shed a tear
Just as long as you stand, stand by me
And darling, darling stand by me
Oh, stand by me
Stand by me, stand by me, stand by me
Whenever you’re in trouble won’t you stand by me
Oh, now, now, stand by me
Oh, stand by me, stand by me, stand by me
Darling, darling stand by me
Stand by me
Oh stand by me, stand by me, stand by me
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