Blondie – Call Me

Blondie only had 10 songs in the top 100 but they made the best of it. Out of those 10 songs were four number one hits. This song was made for the American Gigolo movie.

Call Me was written for Stevie Nicks to sing, I just can’t see Stevie pulling this off with the force that Debbie did. This was the most successful of all Blondie singles in the US, where it was the best-selling single of 1980.

European disco producer Giorgio Moroder wrote this with Blondie lead singer Debbie Harry, who became the first woman in British chart history to write three #1 hits. However, she wasn’t Moroder’s first choice. Moroder had originally wanted Stevie Nicks to provide vocals on the track but the Fleetwood Mac vocalist declined the offer. Debbie wrote most of the lyrics with Moroder.

Chris Stein, Blondie’s guitarist said that some of Moroder’s lyrics were sexually blatant and when Debbie started to rewrite it…she was much more subtle. The song was released on the American Gigolo soundtrack. In 2001 the song was included as a bonus track on the Autoamerican release.

Chris Stein: Debbie’s lyrics are much more subtle than the ones he wrote. His thing was very direct like saying I am a man and I go out and I f*** all the girls. Debbie’s lyrics are a lot more subtle and the movie in a way is not that blatant, it is sort of subtle.

From Songfacts

This song is about a prostitute. It was written for the film American Gigolo, where it plays in a scene where the lead character is “working.”

In 2002, The Box Tops recorded this for the compilation album When Pigs Fly: Songs You Never Thought You’d Hear. Cevin Soling, who was executive producer on the album, explains: “I got the Box Tops back together again, and that was a blast. That was so much fun working with the Box Tops. Especially with Alex Chilton there singing. I didn’t produce that. I was in the studio, but the producer on that one was a buy named Benji King, who was the keyboard player for the band Scandal. That studio experience was pretty funny, because he’s so full of energy. He’s always excited and always really into things. The Box Tops are each one degree more laid back to the next. Coming from the South, they’re all kind of very chill. Until you get to Alex Chilton, who’s practically catatonic. And so you have that contrast.” 

In 2009, Franz Ferdinand covered this song for the War Child Presents Heroes charity album.

This song was covered by the heavy metal band In This Moment on their 2008 album, The Dream.

Giorgio Moroder told Billboard magazine that his difficult experience of recording this song with Blondie taught him not to work with rock bands. “There were always fights,” he recalled. “I was supposed to do an album with them after that. We went to the studio, and the guitarist was fighting with the keyboard player. I called their manager and quit.”

Call Me

Color me your color, baby
Color me your car
Color me your color, darling
I know who you are
Come up off your color chart
I know where you’re comin’ from

Call me (call me) on the line
Call me, call me any, anytime
Call me (call me) my love
You can call me any day or night
Call me

Cover me with kisses, baby
Cover me with love
Roll me in designer sheets
I’ll never get enough
Emotions come, I don’t know why
Cover up love’s alibi

Call me (call me) on the line
Call me, call me any, anytime
Call me (call me) oh love
When you’re ready we can share the wine
Call me

Oh, oh, oh, oh, oh, he speaks the languages of love
Oh, oh, oh, oh, oh, amore, chiamami, chiamami
Oh, oh, oh, oh, oh, appelle-moi mon cherie, appelle-moi
Anytime, anyplace, anywhere, any way
Anytime, anyplace, anywhere, any day-ay

Call me (call me) my love
Call me, call me any, anytime
Call me (call me) for a ride
Call me, call me for some overtime
Call me (call me) my love
Call me, call me in a sweet design
Call me (call me), call me for your lover’s lover’s alibi
Call me (call me) on the line
Call me, call me any, anytime
Call me (call me)
Oh, call me, oh, oh, ah
Call me (call me) my love
Call me, call me any, anytime

Led Zeppelin – The Ocean

“We’ve done four already but now we’re steady and then they went: One, two, three, four”

This song has a great guitar riff that carries the song along with the drums. It’s been said that the Ocean referred to was the fans as they were seen by the band on the stage. In the last line, the Girl who won my heart is Robert Plant’s daughter Carmen, who was 3 years old at the time.

This song was off of the Houses of the Holy album released in 1973. The album peaked at #1 in the Billboard Charts, #1 in the UK, and #1 in Canada. The band didn’t release many singles but this one was released and managed to peak at #8 in Germany.

Bonham and Jones make a rare appearance on backing vocals for the outro.

This song was #14 on Rolling Stones 40 greatest Led Zeppelin songs.

From Songfacts

The voice on the intro is drummer John Bonham. When he says, “We’ve done four already, but now we’re steady and then they went, 1… 2… 3… 4…,” he is referring to the takes. They had tried to record it 4 times prior but couldn’t get it right, so as a pep talk he said his famous line. 

This is one of the few Zeppelin songs where all four members shared the writing credit.

Robert Plant used parts of this for his solo song “Tall Cool One.”

The Beastie Boys sampled this on “She’s Crafty.” It wasn’t their first use of Zeppelin – they took some of Bonham’s drums from “When The Levee Breaks” for “Rhymin’ And Stealin’.”

It can barely be heard due to all the guitar overdubs, but during the last minute or so, John Paul Jones and John Bonham sing for one of the only times on a Zeppelin album. They are harmonizing the phrase “Doo wop.” 

If you listen carefully, you can hear a phone ringing in the studio at 1:37-1:38 and again (second ring) around 1:41. 

The lyrics about “The Hellhound” refer to Blues musician Robert Johnson, who according to legend, sold his soul to the devil. On the lyrics sheet that came with the album, the word “hellhound” was replaced with “high hopes hailla.” 

The Ocean

“We’ve done four already but now we’re steady
And then they went: One, two, three, four”

Singing in the sunshine, laughing in the rain
Hitting on the moonshine, rocking in the grain
Got no time to pack my bags, my foots outside the door
I got a date, I can’t be late, for the high hopes hailla ball, uh uh, uh uh, yeah

Singing to an ocean, I can hear the ocean’s roar
Play for free, I play for me and play a whole lot more, more!
Singing about the good things and the sun that lights the day
I used to sing on the mountains, has the ocean lost its way

I don’t know, oh oh, yeah’

Ooh, yeah

Sitting round singing songs ’til the night turns into day
Used to sing about the mountains but the mountains washed away
Now I’m singing all my songs to the girl who won my heart
She is only three years old and it’s a real fine way to start

Oh yeah!

It sure is fine!
Ah blow my mind!
When the tears are goin’ down! 
Yeah! Yeah, yeah

Oh so, oh so, oh so good!
Oh so good!

David Bowie – Heroes

The song was written by David Bowie and Brian Eno and was on the Heroes album released in 1977. The song peaked at #24 in the UK Charts, #35 in New Zealand, and #11 in Australia in 1978. The song recharted again in 2016. The album peaked at #35 in the Billboard Album Charts, #3 in the UK, #15 in New Zealand, #6 in Australia, and #44 in Canada.

After burn out because of touring Bowie moved to Berlin and rented a cheap apartment above an auto-repair shop, which is where he wrote this album.

Bowie made a video for this song which aired on the Bing Crosby Christmas special. In 1977 Crosby recorded a Christmas special in London called Merrie Olde Christmas, playing the England theme to the hilt. Bowie agreed to sing a duet with Crosby, which became the famous “The Little Drummer Boy/Peace On Earth” mashup. Bowie’s “Heroes” video also aired on the show with an introduction by Crosby. The show aired in November 1977, about a month after Crosby died.

Bowie talked about the song:

“It’s a bitch to sing, ‘cos I really have to give it some towards the end. I pace myself throughout the show and often place it near to a point where I can take a vocal break afterward. As long as I’m touring I don’t see a time when I won’t be singing ‘Heroes.’ It’s a good one to belt out and I get a kick out of it every time.”

From Songfacts

This song tells the story of a German couple who are so determined to be together that they meet every day under a gun turret on The Berlin Wall. Bowie, who was living in Berlin at the time, was inspired by an affair between his producer Tony Visconti and backup singer Antonia Maass, who would kiss “by the wall” in front of Bowie as he looked out of the Hansa Studio window. Bowie didn’t mention Visconti’s role in inspiring this song until 2003, when he told Performing Songwriter magazine: “I’m allowed to talk about it now. I wasn’t at the time. I always said it was a couple of lovers by the Berlin Wall that prompted the idea. Actually, it was Tony Visconti and his girlfriend. Tony was married at the time. And I could never say who it was (laughs). But I can now say that the lovers were Tony and a German girl that he’d met whilst we were in Berlin. I did ask his permission if I could say that. I think possibly the marriage was in the last few months, and it was very touching because I could see that Tony was very much in love with this girl, and it was that relationship which sort of motivated the song.” 

Robert Fripp, formerly of King Crimson, played guitar on this track. His band, King Crimson, performed the song at the Admiralspalast in Berlin on September 11, 2016 in celebration of Bowie. This version was released on an EP called Heroes in 2017.

Brian Eno, formerly of Roxy Music, helped Bowie write and produce this. Eno moved to Berlin with Bowie and worked on his albums LowHeroes, and Lodger. These albums were much more experimental and less commercial than Bowie’s previous work, but they still sold well in England.

Co-writer Eno said of this in the April 2007 Q Magazine: “It’s a beautiful song. But incredibly melancholy at the same time. We can be heroes, but actually, we know that something’s missing, something’s lost.”

Bowie released versions of this song in English, German, and French. The German version is called “Helden”; the French is “Héros.”

Featured in this song are not only Brian Eno’s synthesizer and Robert Fripp’s guitar, but also producer Tony Visconti banging on a metal ashtray that was lying around the studio.

This song is featured in the films Christiane F (1981) and The Parole Officer (2001). It also ended up as a Microsoft commercial theme.

Bowie played this at Live Aid from Wembley Stadium, England in 1985, and also at the Berlin Wall in 1987. Regarding the later performance, Bowie said in his Performing Songwriter interview: “I’ll never forget that. It was one of the most emotional performances I’ve ever done. I was in tears. They’d backed up the stage to the wall itself so that the wall was acting as our backdrop. We kind of heard that a few of the East Berliners might actually get the chance to hear the thing, but we didn’t realize in what numbers they would. And there were thousands on the other side that had come close to the wall. So it was like a double concert where the wall was the division. And we would hear them cheering and singing along from the other side. God, even now I get choked up. It was breaking my heart. I’d never done anything like that in my life, and I guess I never will again. When we did ‘Heroes’ it really felt anthemic, almost like a prayer. However well we do it these days, it’s almost like walking through it compared to that night, because it meant so much more. That’s the town where it was written, and that’s the particular situation that it was written about. It was just extraordinary. We did it in Berlin last year as well – ‘Heroes’ – and there’s no other city I can do that song in now that comes close to how it’s received. This time, what was so fantastic is that the audience – it was the Max Schmeling Hall, which holds about 10-15,000 – half the audience had been in East Berlin that time way before. So now I was face-to-face with the people I had been singing it to all those years ago. And we were all singing it together. Again, it was powerful. Things like that really give you a sense of what performance can do. They happen so rarely at that kind of magnitude. Most nights I find very enjoyable. These days, I really enjoy performing. But something like that doesn’t come along very often, and when it does, you kind of think, ‘Well, if I never do anything again, it won’t matter.'”

The Wallflowers covered this in 1998. Their version was used on the soundtrack to the movie Godzilla.

The single version, which appears on the ChangesBowie album, is shortened, leaving out a good chunk of the first verse.

Bowie first performed this on a television show hosted by his friend Marc Bolan, who was the lead singer for T-Rex. A week later, Bolan died when his girlfriend crashed their car into a tree.

Bowie played this at the “Concert For New York.” Organized by Paul McCartney, it was a tribute to the police, firemen, and rescue workers involved in the 2001 World Trade Center attacks.

Blondie recorded a live cover on January 12, 1980 at The Hammersmith Odeon. It can be found on the disc Blondie and Beyond.

This was originally an instrumental composition, whose title was a reference to the 1975 track “Hero” by the German Krautrock band Neu!.

The finalists from the seventh series of The X Factor released a cover version in November 2010 in aid of armed forces charity Help For Heroes, which topped both the UK and Irish Singles Charts. The choice of song follows a trend as in 2008, the fifth series of X Factor finalists reached #1 with a cover of Mariah Carey’s “Hero.”
Despite a plethora of cover versions from other acts over the years, the X Factor 2010 Finalists are the first act aside from Bowie ever to have a hit single with the song.

What became the “official” video for the song was shot later in September 1977 and directed by Nick Ferguson, a painter who also did set design and directed various film and TV projects.

Janelle Monae recorded a cover for a 2014 Pepsi football-based advertising campaign “Now Is What You Make It.” Asked by The Guardian if she needed Bowie’s permission to use his song, the R&B songstress replied: “Oh, he’s a fan. He’s aware of me. His wife Iman is a huge supporter and she has told me countless times what a big fan he is. So he had to clear me doing the song and I’m so grateful.”

This song is central in the 2012 film The Perks of Being a Wallflower, starring Logan Lerman and Emma Watson. You hear it more than once throughout the movie. 

Something of an underachiever when originally released, “Heroes” peaked at a lowly #24 back in 1977 in the UK and failed to make the Hot 100. In the week after David Bowie’s death, the song finally made the Top 20 in the country of his birth, leaping into the chart at #12.

Album Version

Single Version

Heroes

I, I wish you could swim
Like the dolphins
Like dolphins can swim

Though nothing, nothing will keep us together
We can beat them, forever and ever
Oh, we can be heroes just for one day

I, I will be King
And you, you will be Queen
Though nothing will drive them away
We can be heroes just for one day
We can be us just for one day

I, I can remember
(I remember)
Standing by the wall
(By the wall)
And the guns, shot above our heads
(Over our heads)
And we kissed, as though nothing could fall
(Nothing could fall)

And the shame, was on the other side
Oh, we can beat them, forever and ever
Then we could be heroes just for one day

We can be heroes
We can be heroes
We can be heroes just for one day
We can be heroes

The Ant and the Aardvark

I watched this a some as a kid and enjoyed it. When I watched it as an adult I thought it was Jackie Mason and Dean Martin voicing the cartoon.

John Byner voiced the Ant and the Aardvark. He imitated Jackie Mason as the Aardvark and Dean Martin as the Ant.

The Ant and the Aardvark was a series of theatrical cartoons produced at DePatie-Freleng Enterprises from 1969 to 1971, about a blue aardvark always trying to catch a red ant named Charlie.

The series consisted of 17 cartoons that ran from 1969 to 1971. After its initial theatrical run, The Ant and the Aardvark later became a part of The Pink Panther Show, with all 17 episodes airing in reruns, with the characters themselves being integrated into later iterations of The Pink Panther itself.

When I watch the intro I can’t help but think Monsters Inc got a little inspiration from the beginning.

Songs That Would Be Pointless to Remake.

Some songs are so ingrained in our psyche that a cover version would not make us forget the original or improve it. Covering them in concert is one thing but remaking them is another. When you compete against a memory…the memory wins.  I know some will disagree but there are songs that in my opinion that are untouchable. That doesn’t mean I want to hear these songs over and over…some are worn out. I’m not saying the cover version would be bad…but it would not replace the original.

These are in no order. There are many more…any suggestions?

  1. Bohemian Rhapsody – Queen – I can’t even imagine someone seriously trying to pull this off…
  2. I Am The Walrus – Beatles -This bizarre piece of music would be hard to duplicate.
  3. Stairway to Heaven – Led Zeppelin – It’s been tried…even by Pat Boone…Mr Soul Sucker who can take the soul out of a room by simply walking in. Dolly Parton even took a stab at it.
  4. Freebird – Lynyrd Skynryd – I don’t think anyone would want to try.
  5. Won’t Get Fooled Again – How would you match the intensity and power of this recording?
  6. Good Vibrations – Beach Boys – Todd Rundgren remade this and copied it almost exactly…but what was the point? He did a fine job of copying it.
  7. Sympathy for the Devil – Rolling Stones – I don’t see anyone matching the Stones version.
  8. Born To Run – Bruce Springsteen – Bruce layered so many guitars (I’ve read up to 24) to make his own wall of sound…I don’t see this being topped.
  9. Band On The Run – This is basically three songs into one with McCartney’s style
  10. Like A Rolling Stone – Bob Dylan – Maybe the best single ever released. Bob is one of the most covered artists but his voice just stings on this recording and it would be hard to match.

A few more I thought of… American Pie, A Day In The Life, Sounds of Silence

 

Favorite Lines from Songs Part 2

I did Part 1 over a year ago and it was a fun post. I’ve been meaning to do this again. I remembered some of the lyrics suggested by my friends hanspostcard and allthingsthriller on the last post…I have added those to list. Thanks to both of you.

I saw her from the corner when she turned and doubled back, And started walkin toward a coffee colored Cadillac… Chuck Berry

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Freedom’s just another word for nothin’ left to lose, And nothin’ ain’t worth nothin’ but it’s free Janis Joplin/Kris Kristofferson

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And I need you more than want you, And I want you for all time Jimmy Webb

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Doesn’t have a point of view / Knows not where he’s going to / Isn’t he a bit like you and me…The Beatles

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Met myself a coming county welfare line, I was feeling strung out, Hung out on the line…Creedence Clearwater Revival

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And you’ve got to learn to live with what you can’t rise above…Bruce Springsteen

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He’d end up blowing all his wages for the week / All for a cuddle and a peck on the cheek…Kinks

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Well it’s too late, tonight, To drag the past out into the light, We’re one, but we’re not the same, We get to carry each other, Carry each other…U2

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You can blow out a candle but you can’t blow out a firePeter Gabriel

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Living is easy with eyes closed, misunderstanding all you see…The Beatles

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Where you drink champagne and it tastes just like cherry cola, C-O-L-A Cola…Kinks

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It was gravity which pulled us down and destiny which broke us apart…Bob Dylan
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A drunkard’s dream if I ever did see oneThe Band

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And the sign said, The words of the prophets, are written on the subway walls, and tenement halls… Simon and Garfunkel

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I lit up from Reno, I was trailed by twenty hounds, Didn’t get to sleep that night
Till the morning came around…Grateful Dead

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When I said that I was lying, I might have been lyingElvis Costello
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Though nothing will keep us together/We can be heroes/Just for one day…David Bowie
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Lose your dreams and you. Will lose your mind…Rolling Stones

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It’s a town full of losers, I’m pulling out of here to win…Bruce Springsteen

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The motor cooled down, the heat went down, and that’s when I heard that highway sound…Chuck Berry

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We were the first band to vomit at the bar, and find the distance to the stage too far…The Who

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Badfinger – No Matter What —Powerpop Friday

I like this band a little. This was Badfinger’s second big hit after Come and Get It. This one was written by Pete Ham. The song was released in 1970 just a few months after the Beatles had officially broken up.  Some people thought that perhaps the Beatles had gotten together again and issued a new song after hearing this. It has a fantastic crunchy guitar opening the song up.

The producer of the song was Mal Evan…Beatles roadie and overall helper. The song peaked at #8 in the Billboard 100 and #5 in the UK in 1971. The song was on the album No Dice which peaked at #28 on the Billboard Album charts. Reviews of the album were mostly positive but they could not shake the Beatle comparisons. They tried to break it live by stretching songs out and playing long solos…becoming more of a jam band.

From Songfacts

Badfinger was signed to The Beatles label, Apple Records. Peter Ham used one of George Harrison’s Gibson guitars on this. 

Many people thought this was The Beatles when they heard it. Badfinger was one of the first groups signed to The Beatles record label, Apple Records.

In 2001, The Gap wanted to use this in a commercial. Apple Records, which owns the rights to it, asked for an enormous sum of money and were turned down.

 

No Matter What

No matter what you are
I will always be with you
Doesn’t matter what you do girl, oh girl with you
No matter what you do
I will always be around

Won’t you tell me what you found girl, oh girl won’t you
Knock down the old grey wall, and be a part of it all
Nothing to say, nothing to see, nothing to do
If you would give me all, as I would give it to you
Nothing would be, nothing would be, nothing would be

No matter where you go
There will always be a place
Can’t you see in my face girl, oh girl don’t you

Knock down the old grey wall, and be a part of it all
Nothing to say, nothing to see, nothing to do
If you would give me all, as I would give it to you
Nothing would be, nothing would be, nothing would be

No matter what you are
I will always be with you
Doesn’t matter what you do girl, oh girl want you
Oh girl, you girl, want you
Oh girl, you girl, want you

Emitt Rhodes – Fresh As A Daisy —Powerpop Friday

Emitt Rhoads is not a household name but he did have some very good powerpop songs and albums in his off and on career. The goal on every Friday is to shine some light on the less well-known songs and artists…at least one.

In 1969 Rhodes bought all of the equipment he needed when A&M Records refused to release his recordings and built a recording studio in his parents’ garage. Rhodes recorded his first album (Emitt Rhodes) in that studio. ABC/Dunhill Records signed him and they released his album as well as the next two albums he recorded

His first album was a critical success – Billboard called Rhodes “one of the finest artists on the music scene today” and later called his first album one of the “best albums of the decade“.

Fresh as a Daisy peaked at #54 in the Billboard 100 while his album Emitt Rhodes peaked at #29 in 1970.

Here is some more about Emitt

http://www.emittrhodesmusic.net/emittstory.html

Fresh As A Daisy

Well, if you come from heaven
You know that that’s ok.
Just as long as you’re here to help me,
It doesn’t matter how long you stay.
Talkin’ ’bout you baby.
Don’t you know you’re
Fresh as a Daisy, as Fresh as a Daisy

Well tell me can you feel it,
I’m feeling all right myself.
I’m changing my old habits,
And I found a new bit of health.
Talkin’ ’bout you baby.
Don’t you know you’re
Fresh as a Daisy, as Fresh as a Daisy,
As Fresh as a Daisy.

You do the things you do very well
You make me feel the way I’ve never felt,
You make me feel the way I’ve never felt.

Don’t know how I’ll feel tomorrow,
Tomorrow’s another day.
I like everything about you,
What more is there to say.

Talkin’ ’bout you baby.
Don’t you know you’re
Fresh as a Daisy, as Fresh as a Daisy.
Talkin’ ’bout you baby.
Don’t you know you’re
Fresh as a Daisy, as Fresh as a Daisy.

Hong Kong Phooey

If you were a kid in the mid-seventies…on Saturday morning you were happily blitzed by a morning of cartoons. When I did a post on Underdog last weekend I was asked about Hong Kong Phooey…he was voiced by the great Scatman Caruthers. It was produced by Hanna-Barbera in 1974 for ABC. Around this time Martial Arts were extremely popular and this cartoon played on that.

Hong Kong Phooey’s secret identity is that of Penrod “Penry” Pooch the Police janitor. Penry works with Sgt. Flint and police dispatcher Rosemary. Hong Kong Phooey thinks his martial arts skills catch the bad guys…but it’s usually always Spot the Cat.

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To my surprise…Hanna-Barbera only made 16 episodes and kept running them forever. I watched this in 1974 through 1976 as it was part of the magical seventies Saturday morning programming.

1970s T Shirt Craze

It was the decade of personalized T-Shirts. When I was 12 my mom took me to a T-Shirt store at the mall to get the iron-on transfer below put on a shirt. I picked it from different pics they had…It was my favorite shirt until it started to peel and the Beatles were no longer visible.

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The origins of the t-shirt date back to the late 19th century, when laborers would cut their jumpsuits in half to keep cool in warmer months during the year. The first manufactured t-shirt was invented between the Mexican-American War in 1898, and 1913 when the U.S. Navy began issuing them as standard undershirts.

In 1950, Marlon Brando wore a white t-shirt as Stanley Kowalski in A Streetcar Named Desire, only to be followed by James Dean in 1955’s Rebel Without a Cause. Thanks to these two gentlemen, the popularity of the t-shirt as a stand-alone shirt became standard.

In the seventies, I remember seeing personalized T-Shirts everywhere. The punk movement popularized it also.  Below are some of the fun ones.

I’m With Stupid, Keep On Trucking, and I’m a Pepper were quite popular…

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Drug T-Shirts were popular…I’ve seen pictures of Keith Moon wearing the Rorer 714 shirt.

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Movie Quotes Part 3

Arthur – I race cars, play tennis, and fondle women, BUT! I have weekends off, and I am my own boss.

at 1:36

The Empire Strikes Back – Try not, Do or Do Not, There is no Try

Cool Hand Luke – Calling it your job don’t make it right boss. 

 

Airplane – There’s no reason to become alarmed, and we hope you’ll enjoy the rest of your flight. By the way, is there anyone on board who knows how to fly a plane?

At 5:30

 

Anchorman – He had a voice that could make a wolverine purr and suits so fine they made Sinatra look like a hobo

At 0:036

 

Office SpaceThe thing is, Bob, it’s not that I’m lazy, it’s that I just don’t care

At 1:18

 

Caddyshack – Judge, give someone else a chance! You lucky devil! Come here, honey! And loosen up! You’re a lot of woman, you know? You wanna make 14 dollars the hard way?

The Breakfast Club – Does Barry Manilow know that you raid his wardrobe?

 

Full Metal Jacket –I am Gunnery Sgt. Hartman, your senior drill instructor. From now on you will speak only when spoken to, and the first and last words out of your filthy sewers will be ‘Sir.’ Do you maggots understand that?

0:00 – 0:013

 

Animal Crackers – One morning I shot an elephant in my pajamas. How he got in my pajamas, I don’t know

 

 

Powerpop Friday – Big Star – In The Street

Most people today know this song as the theme to That 70s Show. They never used Big Star’s version for some reason. Todd Griffin covered it the first season and by the second season, Cheap Trick’s version was used. Big Star’s drummer Jody Stephens said, “I don’t know if the general population even knows that Big Star had anything to do with it.” …that is unfortunately true. The general population doesn’t know Big Star which is a crime.

The song was on their great debut album named #1 Record which was released in August of 1972. Billboard went as far as to say, “Every cut could be a single”On the picture above it says “Distributed by Stax Records”…unfortunately it WASN’T… They did a tour and no one could find the album because many record stores didn’t have it. Stax was not equipped to distribute rock records.

By the second album, this was going to be resolved. Columbia was gonna distribute Stax, and then they would have got Big Star into big-box retail outlets. But what happened was Clive Davis, who’s huge in the music world, was the one who brokered that deal… and then he was fired. So the whole thing fell apart after that. America lost out on one of the best bands it ever produced. I would recommend to anyone the documentary on Big Star called…Big Star: Nothing Can Hurt Me

The song has a great riff and wonderful teenage seventies lyrics.

 

From Songfacts

Stephens played in a band called Golden Smog with Jeff Tweedy, and when Tweedy’s band Wilco came to Memphis, Jody sat in with the group. “We played ‘In The Street’ together – I sat in on drums and Glenn Kotche played the cowbell part and John Stirratt sang lead,” he recounts. “My wife was in the audience and she said when we started playing ‘In The Street,’ somebody sitting in back of her said, ‘Why are they playing That ’70s Show song?'”

In what he described as “ironic” in a 2000 Rolling Stone interview, Alex Chilton received $70 in royalty payments every time That ’70s Show was broadcast.

Cheap Trick’s cover features the lyrics “We’re all all right,” an allusion to their 1978 hit “Surrender” from the album Heaven Tonight. Perhaps a chirpy re-interpretation to suit a primetime network sitcom, the inclusion undermines the ambiguity of the original, which evokes adolescent boredom without either romanticizing or condemning it.

This ambiguity is perfectly encapsulated in the lyric, “wish we had a joint so bad” (also absent from the theme tune, although pot smoking was a recurring theme on the show), the double meaning of which can be read as meaning the protagonist’s craving to get high or for a place to go with his friends. There is certainly a theme of being disposed that runs throughout the deceptively simple lyrics, which is juxtaposed with the major key Power-Pop music.

Chilton has said that along with “When My Baby’s Beside Me,” “In The Street” is the best song he ever wrote

In The Street

Hanging out, down the street
The same old thing we did last week
Not a thing to do
But talk to you

Steal your car, and bring it down
Pick me up, we’ll drive around
Wish we had
A joint so bad

Pass the street light
Out past midnight

Hanging out, down the street
The same old thing we did last week
Not a thing to do
But talk to you

John Lennon – Working Class Hero

This song was a favorite of mine of John Lennon when I was younger. He took some flak about this one and Imagine when it came to being a Working Class Hero and having all of his possessions. His answer was

“What would you suggest I do? Give everything away and walk the streets? The Buddhist says, “Get rid of the possessions of the mind.” Walking away from all the money would not accomplish that. It’s like the Beatles. I couldn’t walk away from the Beatles. That’s one possession that’s still tagging along, right?”

When I was 18 this song was a powerful one to listen to…It still is…For me, the song was about the differences between the social classes. How some could be exploited and how people use ideologies to justify manipulating people. The song was on John’s debut album John Lennon/Plastic Ono Band.

Boston’s WBCN banned the song for its use of the word “f_ _king”.In Australia, the album was released with the expletive removed from the song and the lyrics censored on the inner sleeve.

From Songfacts

This song caused a fair amount of controversy for John Lennon, as his detractors pointed out that he was raised in an upper-middle-class home by his aunt and had no right to call himself a working-class hero. In an interview with Rolling Stone just three days before his death, Lennon explained: “The thing about the ‘Working Class Hero’ song that nobody ever got right was that it was supposed to be sardonic – it had nothing to do with socialism, it had to do with ‘If you want to go through that trip, you’ll get up to where I am, and this is what you’ll be.’ Because I’ve been successful as an artist, and have been happy and unhappy, and I’ve been unknown in Liverpool or Hamburg and been happy and unhappy.”

The final take as it appears on the album is actually a composite of two different performances done at two different studios. If you listen carefully (it might require headphones) you can clearly hear the sound of the guitar and vocals change where the edit was made about halfway through the song. 

The word f–king appears twice in the lyrics. On the printed lyrics that came with the album, the word was obscured.

Why did Lennon curse in the song? Yoko Ono explained in a 1998 interview with Uncut: “He told me, ‘That’s part of being working class. It won’t be working class if what you say is all very clean and very proper.”

The line, “If you want to be like the folks on the hill” is a reference to the Beatles song “The Fool On The Hill.”

Green Day recorded this for the benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, and they also performed the song on the 2007 season finale of American Idol. In their version, the last two lines are from the original John Lennon song – John sings them. 

Lennon told the January 1971 edition of Rolling Stone about this song: “I think its concept is revolutionary, and I hope it’s for workers and not for tarts and fags. I hope it’s what “Give Peace A Chance” was about, but I don’t know. On the other hand, it might just be ignored. I think it’s for the people like me who are working class – whatever, upper or lower – who are supposed to be processed into the middle classes, through the machinery, that’s all. It’s my experience, and I hope it’s just a warning to people. I’m saying it’s a revolutionary song; not the song itself but that it’s a song for the revolution.”

This song seemed to resist all Lennon’s efforts to record a satisfactory vocal. Tape op Andy Stephens recalled to Uncut magazine August 2010 that he watched the former Beatle obsess about it day after day, singing “an endless number of takes… well over 100.. Probably 120, 130.”

Stephens added that Lennon became more frustrated as each take passed. “If the mix in his headphones wasn’t exactly what he wanted, he would take them off and slam them into the wall,” he recalled. “he wouldn’t say, ‘Can I have a bit more guitar?’ He would literally rip the cans off his head and smash them into the wall, then walk out of the studio.”

Working Class Hero

As soon as you’re born they make you feel small
By giving you no time instead of it all
Till the pain is so big you feel nothing at all
A working class hero is something to be
A working class hero is something to be

They hurt you at home and they hit you at school
They hate you if you’re clever and they despise a fool
Till you’re so f_ _king crazy you can’t follow their rules
A working class hero is something to be
A working class hero is something to be

When they’ve tortured and scared you for twenty-odd years
Then they expect you to pick a career
When you can’t really function you’re so full of fear
A working class hero is something to be
A working class hero is something to be

Keep you doped with religion and sex and TV
And you think you’re so clever and classless and free
But you’re still f_ _king peasants as far as I can see
A working class hero is something to be
A working class hero is something to be

There’s room at the top they’re telling you still
But first you must learn how to smile as you kill
If you want to be like the folks on the hill

A working class hero is something to be
A working class hero is something to be
If you want to be a hero well just follow me
If you want to be a hero well just follow me

Shocking Blue – Venus

If you get really bored…I’ve attempted to make an index/menu for the blog above with “All Songs from A-Z”, “TV Shows and Commercials”, and “Books and Documentaries”… I will be adding more categories as I go along. If you try it and something doesn’t work just shoot me a comment…thanks

The Shocking Blue weekend is coming to a close with their biggest hit… Venus. I want to thank everyone for the positive feedback on this forgotten band over the weekend. I like some of their other songs more than this one but it is a good song.

This is one of the first songs I remember hearing. I like Shocking Blue because of their powerful lead singer Mariska Veres and the songwriting of Robbie van Leeuwen. This was their huge #1 hit Venus and it peaked at #1 in the Billboard 100 in 1970.

The group’s guitarist Robbie Van Leeuwen wrote this song. The group is from The Netherlands, which led to an interesting translation problem when Shocking Blue lead singer Mariska Veres sang the English lyrics.

Van Leeuwen wrote the first line down incorrectly what was supposed to be “A goddess on the mountain top” he wrote as “A goddness (I checked and she does say goddness) on the mountain top,” and that’s exactly how Veres sang it. the result was a #1 hit with a misspoken first line thanks to a typo.

This is from http://www.oocities.org/ofmang/greg/shblbio.html

“Venus” made Number 3 in Holland, but significantly topped the charts in several countries, including Belgium, France, Italy, Spain, and Germany. The record came to the attention of a newly formed American record label, Colossus. The label’s head, Jerry Ross, signed Shocking Blue to his label and was rewarded when “Venus” hit the top there in February of 1970. Needless to say the group was hugely successful at home and had some fifty hits in Holland while their records also sold well in France and Japan.

Shocking Blue’s follow-up to “Venus”, “Mighty Joe“, made Number 1 in Holland and charted almost everywhere as its predecessor had. “Never Marry a Railroad Man” also hit top of the Holland rock chart. They continued to chart with songs like “Hello Darkness”, “Shocking You”, “Long Lonesome Road”, “Blossom Lady”, and “Inkpot”, but neither of these songs reached higher than 43rd place in the American chart.

Shocking Blue successfully combined Beat and R&B with psychedelic elements of the time like Indian sitar and odd production techniques. Robbie didn’t mind if the band included a few covers, as it took the pressure off him to constantly come up with new material. “We wrote a lot of our own stuff and the radio DJs preferred us to do original songs, but we had so many albums to do the band had to fill in with a few covers. It was quite exhausting writing all the lyrics and song myself”.

For several months in 1970-1971 Leo van de Ketterij(guitar) played with the group.

Mariska, Robbie, Cor and Klaasje stayed together for three years while they toured the world, visiting such distant lands as Japan, Indonesia, Hong Kong, and South America. Traveling facilities were primitive compared to the sort of luxury top groups expect today, and Shocking Blue had to cover vast distances cramped together in an uncomfortable station wagon. “We never expected to be so busy”, recalls Robbie. “The whole touring business just became too tough for me.”

From Songfacts

The female vocal trio Bananarama recorded this in 1986. It was one of the first songs they started performing when they formed the band in 1979, but they wanted to record original songs first so they would be taken seriously.

Their version was produced by the team of Stock, Aitken and Waterman, who worked on hits by Rick Astley (“Never Gonna Give You Up”), Dead or Alive (“You Spin Me Round (Like A Record)”) and Kylie Minogue (“I Should Be So Lucky”).

The distinctive guitar riff was taken from The Who’s “Pinball Wizard.”

This was produced by Jerry Ross, who also produced another Dutch group, Tee Set, who performed “Ma Belle Amie”. Ross also produced an album of orchestral arrangements of his (primarily) Dutch stable of hits, under the name Jerry Ross Symposium. 

In the US, both this and the Bananarama cover version reached #1, making it one of the few songs to do so. Strangely, in the UK both Shocking Blue and Bananarama reached #8 with “Venus” and both spent 13 weeks on the chart with the song. 

On an episode of the MTV cartoon Beavis And Butthead, Butthead makes up his own lyrics to this but gets frustrated when he can’t think of anything that rhymes with “Venus.”

In Shocking Blue’s home country, this never made it to #1. After its success in the States, the song was re-released but climbed no further that #3 on the Dutch pop chart.

In 1959, Frankie Avalon had a US #1 hit with the same title. There were two other instances of different songs with identical titles reaching #1 on the Billboard charts. “My Love” was #1 for Petula Clark in 1966 and another “My Love” turned the trick for McCartney & Wings in 1973. Then “Best Of My Love” topped the charts for the Eagles in 1973 and a different song of the same title was #1 for The Emotions in 1977. 

In the 1988 Full House episode “But Seriously Folks,” DJ and Kimmy, influenced by Bananarama, start a band and attempt to learn “Venus.”

Venus

A goddess on a mountain top
Burning like a silver flame
A summit of beauty and love
And Venus was her name.

She’s got it,
Yeah baby, she’s got it.
I’m your Venus,
I’m your fire at your desire.

Her weapons were her crystal eyes
Making every man mad,
Black as the dark night she was
Got what no one else had.

She’s got it,
Yeah baby, she’s got it
I’m your Venus,
I’m your fire at your desire.

M*A*S*H 1980-1983

This wraps up the Mash posts…This is my least favorite period of Mash but I’m not knocking it. It was still better than some other shows at the time. Not many shows can go on this long without some lag. The episodes were hit and miss. The show had to grow up and the characters had to change to continue this long. Mash was an ensemble-based show but now more than ever the focus was on Hawkeye than the rest of the cast.

The biggest change was the atmosphere compared to the beginning. The desperate feeling from being 3 miles from the frontline seems to have disappeared. The characters seem comfortable…maybe too comfortable being there. The dirt of the earlier episodes is washed clean now.

Characters from the from years 9-11.

Benjamin Franklin “Hawkeye” Pierce – Alan Alda – This is a period when a friend of mine called Alan Alda a Chatty Cathy doll. Pull the string and the puns would come out over and over. Hawkeye goes from a wisecracking skirt chaser to a sensitive person in these years. You see Hawkeye go through a mental breakdown in the last episode.

Captain B.J. Hunnicutt – Mike Farrell – BJ stays faithful to his wife and is known to be a practical joker. Like the other characters, we get to know BJ more in these seasons. Mash was really good at fleshing out the characters. 

Major Charles Emerson Winchester III – David Ogden Stiers – By the end Charles was bearable.  Winchester is often adversarial with Hawkeye and B.J. but joins forces with them if it is justified. He has a dry sense of humor and enjoys practical jokes as well as the occasional prank to get revenge on his bunkmates for something they did or for his own amusement.

Colonel Sherman T Potter – Henry Morgan – Sherman Potter became the father figure of the camp. He was their unquestionable leader. Henry Morgan did a great job with the role.

Major Margaret Hot Lips” Houlihan – Loretta Swit – Of all the characters Margaret goes through the biggest change. She is now one of the gang and even defiant at authority at times. She is someone by now that you would love to know. She is still tough but far from the by the book person she was at one time.

Francis John Patrick Mulcahy – William Christopher – Mulcahy understands that many of his “flock” are non-religious or have other faiths, and does not overly preach at them. Rather than lecturing at people, he seeks to teach by example, or by helping someone see the error of their ways

Maxwell Klinger – Jamie Farr – Corporal Klinger who once tried to eat a jeep bolt by bolt just to get out of the army now seems happy to serve. When he took over Radar’s job he seemed quite content.

Stand out Episodes

Dreams – After long hours operating the episode gets into the subconscious of the 4077. Each cast member is shown dreaming.

Goodbye, Farewell and Amen – The last episode of Mash. The show was so strongly anticipated that commercial blocks were sold higher than for the Superbowl that year… from Wiki…  It still stands as the most-watched finale of any television series, as well as the most-watched episode

Klinger: Rosie, I need a favor.
Rosie: Five dollars.
Klinger: I just wanna talk.
Rosie: OK, three dollars.

BJ: Do you know how to make a cow say “ah”?
Hawkeye: Not without getting emotionally involved.

PA System Announcer: Ladies and gentlemen, five minutes ago, at 10:01 this morning, the truce was signed in Panmunjon. The hostilities will end twelve hours from now at ten o’clock. THE WAR IS OVER!

Hawkeye: Look, I know how tough it is for you to say goodbye, so I’ll say it. Maybe you’re right. Maybe we will see each other again. But just in case we don’t, I want you to know how much you’ve meant to me. I’ll never be able to shake you. Whenever I see a pair of big feet or a cheesy mustache, I’ll think of you.
B. J.: Whenever I smell month-old socks, I’ll think of you.
Hawkeye: Or the next time somebody nails my shoe to the floor…
B. J.: Or when somebody gives me a martini that tastes like lighter fluid.
Hawkeye: I’ll miss you.
B. J.: I’ll miss you, a lot. I can’t imagine what this place would’ve been like if I hadn’t found you here. [The two men hug, then Hawkeye boards the helicopter while B. J. mounts his motorcycle, where he shouts over the helicopter] I’ll see you back in the States—I promise! But just in case, I left you a note!
Hawkeye: What?![B. J. rides off. Hawkeye gives the pilot the thumbs-up to take off. As the helicopter ascends, Hawkeye looks down and smiles as he sees a message spelled in stones: GOODBYE]

Image result for Mash goodbye