J Geils Band – Come Back

Peter Wolf was a great frontman for J Geils. Peter and keyboard Seth Justman wrote most of the songs for them. They hit big in 1982 with their more pop-oriented album Freeze Frame. Up until that time they were more R&B.

Come Back was included on the Love Stinks. With that album, the band began to update their sound for the new decade. This record setup Freeze Frame to be a huge hit. 

Peter Wolf and Seth Justman wrote this song.

The song peaked at #32 in the Billboard 100 and #19 in Canada in 1980.

Come Back

When you left me all alone
You left me cryin’ on my own
Tell me, tell me, what you gonna do
Tell me pretty baby
‘Cause I’m still in love with you

Come back (baby)
Come back-won’t you come back to me
Come back (baby)
Come back-won’t you come back to me

Here I’m standin’ such a fool
It’s not like you babe
Oh, don’t be cruel
Help me, help me
‘Cause you know I’m not that strong
Help me, help me darlin’
I’ve been lonely for too long

Come back (baby)
Come back-won’t you come back to me
Come back (baby)
Come back

Tell me, tell me, what you gonna do
Tell me pretty baby
‘Cause I’m still in love with you

Come back (baby)
Come back-won’t you come back to me
Come back (baby)
Come back-won’t you come back to me
Come back (baby)
Come back-please come back to me darlin’-aah
Come back (baby)
Come back-won’t you come back to me

Bruce Springsteen – Independence Day

But they can’t touch me now
And you can’t touch me now
They ain’t gonna do to me
What I watched them do to you

Great song by Bruce Springsteen that was written and recorded in 1977 for the Darkness on the Edge of Town album…but Bruce later included it on The River. They Ain’t Gonna Do To Me What I Watched Them Do To You. Lines like this keep me coming back to Bruce. This is one of the strongest songs on that album and one of my favorites of Springsteen.

According to Bruce’s autobiography and his song introduction, this song is about Springsteen’s relationship with his dad. They didn’t get along, but later in life, Bruce realized his father worked very hard to support his family and came to appreciate his efforts. Bruce can also thank his dad for inspiring the rebellious spirit that led him to follow his dreams. Determined not to work a typical factory type job like his dad, Springsteen followed his dreams and made music for a living.

Bruce Springsteen: “I could never talk to my old man, he could never talk to me, my mother couldn’t talk to him. So I was glad when I finally got old enough and I started to live alone. Then for about ten years I never saw my folks that much. And just recently we came back from Europe and I got a phone call a night or two later that my father had gotten sick.

I went out to California where he was in the hospital there. I started thinkin’ on the way about all the things that I always wanted to say to him and I never said and I always figured, well, someday we’ll sit down and we’ll talk about why it was the way it was when I was young, talk about why he felt the way he did. But the years go by and it never comes up. I guess it feels like a dangerous subject or something. But he got sick and I realized that he was gettin’ old and that if I had somethin’ to say to him, I should say it now.”

 

 

Independence Day

Well Papa go to bed now it’s getting late
Nothing we can say is gonna change anything now
I’ll be leaving in the morning from Saint Mary’s Gate
We wouldn’t change this thing even if we could somehow
‘Cause the darkness of this house has got the best of us
There’s a darkness in this town that’s got us too
But they can’t touch me now
And you can’t touch me now
They ain’t gonna do to me
What I watched them do to you

So say goodbye it’s Independence Day
It’s Independence Day
All down the line
Just say goodbye it’s Independence Day
It’s Independence Day this time

Now I don’t know what it always was with us
We chose the words, and yeah, we drew the lines
There was just no way this house could hold the two of us
I guess that we were just too much of the same kind

Well say goodbye it’s Independence Day
It’s Independence Day all boys must run away
So say goodbye it’s Independence Day
All men must make their way come Independence Day

Now the rooms are all empty down at Frankie’s joint
And the highway she’s deserted down to Breaker’s Point
There’s a lot of people leaving town now
Leaving their friends, their homes
At night they walk that dark and dusty highway all alone

Well Papa go to bed now it’s getting late
Nothing we can say can change anything now
Because there’s just different people coming down here now
And they see things in different ways
And soon everything we’ve known will just be swept away

So say goodbye it’s Independence Day
Papa now I know the things you wanted that you could not say
But won’t you just say goodbye it’s Independence Day
I swear I never meant to take those things away

 

 

Mad and Cracked Magazine…a quick look

To those that it applies…Happy Independence Day! I’ll have a couple of songs coming up related to Independence Day.

I never got into comic books like Marvel or DC…I would save up my allowance for Cracked and Mad magazine…and records of course. Mad Magazine was by far the most popular out of all of the satire comic magazines. William Gaines was the publisher of Mad magazine and was brilliant.

William Gaines – sendingdeadletters

1952 – Present…now you an only get Mad from Comic Book Shops or order it. The new editions consist of mostly material from their archive.

Cracked was known as the poor man’s Mad but I still liked it and the magazines shared some writers and artists through the years. I bought my first Cracked Magazine when Mad was sold out but I never missed an issue after that.

1958-2007 Now the name is alive on a website but no longer a comic.

Alfred E Newman and Sylvester P. Smythe

Sylvester P. Smythe | The Belated NerdSylvester P. Smythe | Cracked Wiki | Fandom

Don Martin was my favorite artist. He was one of Mad’s most famous artists. He was there from 1956 to 1988. He was known as “Mads Maddest Artist” and then moved to Cracked and was jokingly known as “Cracked’s Crackedest Artist.”

Fellow Cracked artist Dan Clowes: “As far as I could tell, he was happy,  don’t think he ever seemed to notice that Mad was respected, whereas Cracked was loathed.”

Completely Mad Don Martin TPB (1974 Warner Books) A MAD Big Book ...

Cracked #235 May 1988 cover by Don Martin | Mad magazine, Vintage ...

 

Devo – Peek-a-Boo!

Happy Friday! This song will get it off to a…strange start. But strange is good.

Ok…there is NO one like Devo. No one before or after… they were one original band. They are the best at what they do because no one does what they do but them. Am I a big fan of Devo? No, but sometimes just to break the monotony I play one…nothing breaks the monotony like Devo.

I’ve told this story before but…I showed my son the SNL clip of Devo (De-Evolution) when he was around 10-12 years old and I looked around at his confused/scared look… his mouth was hung open. He asked me slowly…Dad, what was that? Son, that was Devo…it still works…whatever IT is.

The song was written by Mark Mothersbaugh and Gerald Casale. The song was produced by Roy Thomas Baker…the same producer that produced Queen, The Cars, Alice Cooper, and Cheap Trick to name a few.

It was on the album that peaked at #47 in the Billboard Charts and #10 in New Zealand. With this album, they moved away from guitars to all synthesizers which angered some fans but the band had been saying that was their goal.

DevoOhNoItsDevo.jpg

It was released in 1982 and peaked at #13 in the US Billboard Bubbling Under The Hot100 Chart.

 

Peek-a-Boo!

Peekaboo
I can see you
And I know what you doSo put your hands on your face
And cover up your eyes
Don’t look until I signal
PeekabooHa ha ha ha
Ha ha ha ha
Peekaboo

The way that we weren’t
Is what we’ll become
So please pay attention
While I show you some
Of what’s about to happen

Peekaboo
I know what you do
Cause I do it too

So put your hands on your face
And cover up your eyes
Don’t look until I signal
Peekaboo

Ha ha ha ha
Ha ha ha ha
Peekaboo

Laugh if you want to or say you don’t care
If you can not see it, you think it’s not there
It doesn’t work that way

Peekaboo
I can see you
And I know what you do

So put your hands on your face
And cover up your eyes
Don’t look until I signal
Peekaboo

Ha ha ha ha
Ha ha ha ha
Peekaboo

Who – Athena

I felt like a pickled priest
Who was being flambed

No one writes like Pete Townshend…bless him. I’ve come to really like Eminence Front but when this album came out, this is the song that I drawn to at first.

The song was written about actress Theresa Russell who Pete had a crush on that the time. He did a demo at the time called “Teresa for the Face Dances Album. She was then going with Nic Roeg. By the time The Who came to record the song for It’s Hard, Teresa Russell had wed Nic Roeg. The guitarist was nervous about publicly naming his crush so he renamed it “Athena.” What Pete’s then-wife Karen Astley felt about this we don’t know.

The song reached #28 in the Billboard 100, #5 in Canada, and #40 in the UK in 1982.

Roger Daltrey felt that concealing the subject of the song’s true identity was a mistake. “Pete was talking to me about Nick Roeg’s girlfriend and how he fancied her, and that song was written about her – but then it changed into ‘She’s a bomb’.

Roger Daltrey:  I’ve got a psychological problem with it,” “It’s a great record; there’s so much energy on that thing, but I still don’t think there’s a center to that song. The fact that he changed the title in that and didn’t stick to what it was supposed to be lost its center to me.”

Pete Townshend: The song was written after I had been to see The Wall with my friend Bill Minkin and the actress Theresa Russell who was about to marry the film director Nic Roeg with whom I hoped to work on a new version of Lifehouse. I got drunk as usual, but I had taken my first line of cocaine that very evening before meeting her and decided I was in love. When I came to do the vocal on the following day I was really out of my mind with frustration and grief because she didn’t reciprocate

From Songfacts

Pete Townshend wrote this song the day after he was knocked back by American actress Theresa Russell.

The guitarist told TheWho.net how he went to see The Wall with his friend Bill Minkin and Russell. (The actress was engaged to the film director Nic Roeg with whom he was planning to work on a new version of Lifehouse.) “I got drunk as usual, but I had taken my first line of cocaine that very evening before meeting her and decided I was in love,” Townshend explained. “When I came to do the vocal on the following day [February 15, 1980] I was really out of my mind with frustration and grief because she didn’t reciprocate.”

Teresa Demo

Athena

I had no idea how much I need her
In peaceful times I hold her close and I feed her
My heart starts palpitating
When I think my guess was wrong
But I think I’ll get alone
She’s just a girl
She’s a bomb

Athena
All I ever want to do is please her
My life has been so settled
And she’s the reason
Just one word from her
And my troubles are long gone
But I think I’ll get along
She’s just a girl
She’s a bomb
She’s a bomb
Just a girl, just a girl
Just a girl, just a girl
Just a girl, just a girl
She’s just a girl

Athena
My heart felt like a shattered glass in an acid bath
I felt like one of those flattened ants
You find on a crazy path
I’d have stopped myself to give her time
She didn’t need to ask
Was I a suicidal psychopath
She’s just a girl
She’s a bomb
She’s just a girl
She’s a bomb
Consumed
There was a beautiful white horse
I saw on a dream stage
He had a snake the size of a sewer pipe
Livin’ in his rib cage

I felt like a pickled priest
Who was being flambed
You’ve got me requisitioned blondie
She’s just a girl
She’s a bomb
I’m happy
She’s a bomb
I’m ecstatic
Just a girl, just a girl
Just a girl, just a girl
Just a girl, just a girl
Just a girl

Look into the face of a child
Measure how long you smiled
Before the mem’ry claimed
How long would children remain
How long could children remain

Athena
You picked me up by my lapels
And screamed “leave her”
I felt like waking up in heaven
On an empty meter
And now you’re stuck
With a castrated leader
And I hate the creep
I didn’t mean that
She’s a bomb
I just said it
She’s a bomb
Please She’s a bomb

Athena
I had no idea how much I need her
My life has been so settled
And she’s the reason
Just one word from her
And my troubles are long gone
Ooh but I get along
She’s just a girl
She’s a bomb
She’s just a girl
She’s a bomb

Dire Straits – Money For Nothing—- Songs That Reference Money

Money for nothin’ and chicks for free 

This was the first video played on MTV Europe. The network went on the air on August 1, 1987, six years after MTV in the US… This was back when MTV (Music Television) actually played music but now has questionable shows.

The clipped guitar sound won me over the first time I heard this.

In the US, this stayed at #1 for three weeks. It also won a Grammy in 1986 for best Best Rock Vocal Performance by a Duo or Group.

Dire Straits recorded this in Montserrat. Sting was on vacation there and came by help. Sting sings on this and helped write it…Sting and Knophler were credited as songwriters. Sting did not want a songwriting credit, but his record company did because they would have earned royalties from it. It’s been said that the line “I Want My MTV” sounded very similar to a song Sting wrote for The Police: “Don’t Stand So Close To Me.”…well the same amount of syllables anyway.

The song was banned in Canada in 2011.

One offended listener complained to the Canadian Broadcast Standards Council in 2010 about the song’s inclusion of a homosexual slur, and the CBSC ruled that the use of the gay slur breaches the national broadcast authority’s code of ethics. The CBSC ruled that the song can be played on the radio in an edited form without the slur.

The CBSC ruling panel said that even though the song has been accepted for the past 25 years it does not mean that its lyrics are acceptable today. At least two stations, CIRK FM in Edmonton and CFRQ-FM in Halifax, played the unedited version of “Money for Nothing” repeatedly for one hour out of protest.

Later in the year, the CBSC left it up to the stations to decide and the ban was lifted.

Mark has said he was writing it to show how narrow-minded people could be. He was a journalist at one time.

Mark Knopfler: “I was reporting, verbatim, what a particular guy thought about music,” he said. “I transcribed his words there and then. He was a meathead. To him being a rock star was easy, hence ‘that ain’t working.'”

“Weird Al” Yankovic parodied this for his movie UHF. The parody is called “Beverly Hillbillies (Money For Nothing).” Strait’s frontman, Mark Knopfler, OK’d the parody under one condition: Knopfler would play guitar on the song.

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

 

From Songfacts

This song is about rock star excess and the easy life it brings compared with real work. Mark Knopfler wrote it after overhearing delivery men in a New York department store complain about their jobs while watching MTV. He wrote the song in the store sitting at a kitchen display they had set up. Many of the lyrics were things they actually said.

The innovative video was one of the first to feature computer generated animation, which was done using an early program called Paintbox. The characters were supposed to have more detail, like buttons on their shirts, but they used up the budget and had to leave it as is. It won Best Video at the 1986 MTV Video Music Awards.

The video was directed by Steve Barron, who also directed the famous a-ha video for “Take On Me” and Thomas Dolby’s “She Blinded Me With Science.”

Mark Knopfler took the directive to write an “MTVable song” quite literally, using the network’s tagline in the lyrics. The song ended up sounding like an indictment of MTV, but Les Garland, who ran the network, made it clear that they loved the song and were flattered by it – hearing “I Want My MTV” on the radio was fantastic publicity even if there were some unfavorable implications in the lyrics.In the book I Want My MTV, various people who worked at the network explain that Dire Straits’ manager asked the network what they could do to get on the network and break through in America. Their answer was: write a hit song and let one of the top directors make a video. 

Steve Barron was dispatched to do the video, and charged with the task of convincing Mark Knopfler, who hated videos, to do one that was groundbreaking. Barron says that Knopfler wasn’t into the idea, but his girlfriend – an American – was at the pitch and loved the idea. Knopfler agreed (in part because he didn’t have to appear in it), and Barron hired a UK production company called Rushes to work on it. Said Barron: “The song is damning to MTV in a way. That was an ironic video. The characters we created were made of televisions, and they were slagging off television. Videos were getting a bit boring, they needed some waking up. And MTV went nuts for it. It was like a big advertisement for them.”

The line “I want my MTV” was the basis of the cable network’s promotional campaign. They played clips of musicians saying, and often times, screaming the line between videos.

The album version runs 8:26 with an extended outro. The single was cut down to 4:38.

Mark Knopfler played a Les Paul Junior plugged into a Laney amp on this track. Producer Neil Dorfsman recalled in Sound On Sound magazine May 2006: “We were going for a ZZ Top sound, but what we ended up getting was kind of an accident.”

Twenty-five years after the song’s release it was banned from public broadcast in Canada after one person complained about it being homophobic. The original version included a description of a singer as “that little faggot with the earring and the make-up” plus two other uses of the word “faggot,” although a cleaned-up edition was made available, Oz-FM in Newfoundland played the first edition in February 2010 at 9:15 at night. The result was a single complaint and the Canadian Broadcast Standards Council ruled that the unedited version of the song was unacceptable for air play on Canadian radio stations because it “refers to sexual orientation in a derogatory way.”

Knopfler has pointed out the song was written from the viewpoint of a stupid character who thinks musicians make their “money for nothing” and his stupidity is what leads him to make ignorant statements. Speaking in late 1985 to Rolling Stone the Dire Straits songwriter expressed his feelings about people who react angrily to the song. He said: “Apart from the fact that there are stupid gay people as well as stupid other people, it suggests that maybe you have to be direct. I’m in two minds as to whether it’s a good idea to take on characters and write songs that aren’t in the first person.”

Common sense finally prevailed on August 31, 2011 when the Canadian Broadcast Standards Council put an end to the ban and allowed individual radio stations to once again decide for themselves whether to play the classic rock tune.

In 2005, the duo Deep Dish sampled this on their song “Flashing For Money,” which was based on their song “Flashdance” (not the Irene Cara song). It was the first time Dire Straits allowed one of their songs to be sampled. “Flashing For Money” was released on the B-side of Deep Dish’s single “Say Hello.”

Reel Big Fish released an album in 2007 called Monkeys For Nothin’ And The Chimps For Free. The title is a takeoff on this song. 

Money For Nothing

(I want my, I want my MTV)
(I want my, I want my MTV)
(I want my, I want my MTV)
(I want my, I want my MTV)

Now look at them yo-yo’s, that’s the way you do it
You play the guitar on the MTV
That ain’t workin’ that’s the way you do it
Money for nothin’ and your chicks for free

Now that ain’t workin’ that’s the way you do it
Lemme tell ya, them guys ain’t dumb
Maybe get a blister on your little finger
Maybe get a blister on your thumb

We got to install microwave ovens, custom kitchen deliveries
We got to move these refrigerators, we gotta move these color TV’s

See the little faggot with the earring and the make up
Yeah buddy that’s his own hair
That little faggot got his own jet airplane
That little faggot he’s a millionaire

We got to install microwave ovens, custom kitchen deliveries
We got to move these refrigerators, we gotta move these color TV’s

We got to install microwave ovens, custom kitchen deliveries
We got to move these refrigerators, we gotta move these color TV’s

I shoulda learned to play the guitar
I shoulda learned to play them drums
Look at that mama she got it stickin’ in the camera man
We could have some-

And he’s up there, what’s that?
Hawaiian noises?
Bangin’ on the bongos like a chimpanzee
That ain’t workin’ that’s the way you do it
Get your money for nothin’, get your chicks for free

We got to install microwave ovens, custom kitchen deliveries
We got to move these refrigerators, we gotta move these color TV’s

Listen here
Now that ain’t workin’ that’s the way you do it
You play the guitar on the MTV
That ain’t workin’, that’s the way you do it
Money for nothin’ and chicks for free
Money for nothin’ chicks for free
Money for nothin’ chicks for free
Money for nothin’ chicks for free
Money for nothin’ chicks for free
Money for nothin’ chicks for free
Money for nothin’ get your chicks for free
Money for nothin’ and the chicks for free
Money for nothin’ and the chicks for free

Look at that, look at that
Money for nothin’ chicks for free (I want my, I want my MTV)
Money for nothin’ chicks for free (I want my, I want my MTV)
Money for nothin’ chicks for free (I want my, I want my MTV)
Money for nothin’ chicks for free (I want my, I want my MTV)
Easy, easy money for nothin’ (I want my, I want my MTV)
Easy, easy chicks for free (I want my, I want my MTV)
Easy, easy money for nothin’ (I want my, I want my MTV)
Chicks for free (I want my, I want my MTV)
That ain’t workin’

Money for nothing, chicks for free
Money for nothing, chicks for free

Paul Simon – The Boy In The Bubble

“The bomb in the baby carriage was wired to the radio”

That lyric got my attention when I first heard the song. The song sounded so different at the time than anything else that was going on.

Paul Simon wrote the lyrics for this song when he returned to America from South Africa When he was there his concern was recording just the music.

The words had to work with the track that Simon’s producer Roy Halee assembled from the reels of tape they returned with. It took Simon a long time to finish the lyrics, working in phrases like “the boy in the bubble and the baby with the baboon heart” in a way that would mesh with the African rhythm.

This song is credited to Simon and Forere Motloheloa.

There was a United Nations cultural boycott in place that was designed to pressure political leaders into giving up their Apartheid policy. The boycott was to keep popular musicians away from places like Sun City where they played to the white ruling class in South Africa. The problem was that any violation of the boycott could undermine the sanctions, and many locals were not happy with Simon’s visit. Some people still complain about him making this album there.

These South African sanctions didn’t just keep outside musicians away from the country, but it also kept their local music from getting out… Simon only heard it because a friend gave him a bootleg cassette tape.

The song peaked at #86 in the Billboard 100 in 1986. The singles off the album didn’t have huge success in Billboard because they didn’t fit easily into the 80’s radio formats.

Paul Simon: “‘The Boy In The Bubble’ devolved down to hope and dread. That’s the way I see the world, a balance between the two, but coming down on the side of hope.”

The Boy In The Bubble

It was a slow day
And the sun was beating
On the soldiers by the side of the road
There was a bright light
A shattering of shop windows
The bomb in the baby carriage
Was wired to the radio

These are the days of miracle and wonder
This is the long distance call
The way the camera follows us in slo-mo
The way we look to us all

The way we look to a distant constellation
That’s dying in a corner of the sky
These are the days of miracle and wonder
And don’t cry, baby, don’t cry
Don’t cry

It was a dry wind
And it swept across the desert
And it curled into the circle of birth
And the dead sand
Falling on the children
The mothers and the fathers
And the automatic earth

These are the days of miracle and wonder
This is the long distance call
The way the camera follows us in slo-mo
The way we look to us all, oh yeah

The way we look to a distant constellation
That’s dying in a corner of the sky
These are the days of miracle and wonder
And don’t cry baby, don’t cry
Don’t cry

It’s a turn-around jump shot
It’s everybody jump start
It’s every generation throws a hero up the pop charts
Medicine is magical and magical is art
Think of the boy in the bubble
And the baby with the baboon heart

And I believe
These are the days of lasers in the jungle
Lasers in the jungle somewhere
Staccato signals of constant information
A loose affiliation of millionaires
And billionaires and baby

These are the days of miracle and wonder
This is the long distance call
The way the camera follows us in slo-mo
The way we look to us all, oh yeah

The way we look to a distant constellation
That’s dying in a corner of the sky
These are the days of miracle and wonder
And don’t cry baby, don’t cry
Don’t cry, don’t cry

 

Bruce Springsteen – Atlantic City

I bought the Nebraska album when it was released when I saw the video for this song. Bruce recorded this album on a Tascam 4 track machine as a demo for the band. He tried to do the songs with the E-Street band but they just didn’t sound as good as the demo.

After carrying the cassette around in his pocket for weeks they mastered the cassette and made the Nebraska album…it was the demo. Here is more of the complete story by sound engineer Toby Scott. https://tascam.com/us/support/news/481#:~:text=Although%20most%20people%20know%20the,%2Dtime%20recording%2Fmix%20engineer.

The album was only Bruce with an acoustic guitar with overdubs by him. It’s one of my favorite all-time favorite songs and albums by Bruce.

The Band covered this song in 1993, years after Robbie Robertson left. I like this version just as well as Bruce’s original. Levon Helm does a great job on the vocals.

The first line, “They blew up the Chicken Man in Philly last night,” was taken from a newspaper article about a mob hit in Atlantic City. The “Chicken Man” was Phil Testa, number two man in the Philadelphia Mob under Angelo Bruno.

After Bruno was murdered in his car, Testa was blown up by a bomb placed under his front porch. These hits were orchestrated by Nicky Scarfo, who took over the Philly boys so he could control the new Atlantic City gambling rackets. He made such a mess of things that he and most of his crew were either murdered or in jail within a few years.

The Nebraska album peaked at #3 in the Billboard 100, #3 in the UK, Canada, and New Zealand in 1982.

From Songfacts

Atlantic City is a very poor city in New Jersey where gambling is legal. When casinos were built there in the early ’80s, it was supposed to revitalize the city. The casinos made it a popular tourist destination, but the city itself continues to be very run-down. There is a stark contrast between the glamorous casinos on the boardwalk and the city itself.
Atlantic City is also a haven for organized crime, and it’s implied that the narrator, who struggles with his finances and ruminates on the inevitability of death, as taken a job as a hit man.

This was the first Springsteen song to be made into a video (unless you count live performance clips), but Bruce does not appear in it. Springsteen had no interest in making concept videos, but an executive at his label, Columbia Records, named Arnold Levine knew that Bruce could benefit from exposure on MTV and put together the clip using footage of Atlantic City. MTV was based in New York and run by radio veterans who were big fans of Springsteen, so the video got some airplay on the network, which was trying to stick to a rock format in 1982.

This is the only track from Nebraska included on Springsteen’s Greatest Hits album.

The title and many of the images are shared with a 1981 Louis Malle movie starring Burt Lancaster and Susan Sarandon.

Springsteen recorded this as a demo on a 4-track tape recorder in his house. After trying it with the band, he decided this and the other songs that would make up Nebraska sounded best as he originally recorded them.

The version on the album is acoustic, but the plugged-in live version is a concert favorite.

Other songs Springsteen wrote about his home state of New Jersey towns include “Freehold” and “Fourth Of July, Asbury Park.” He is wildly popular there.

This was released as a single in Europe, but not the US.

Springsteen recorded three takes, each with slightly different lyrics, on the tape he gave his manager which became Nebraska.

Since Springsteen did not tour for Nebraska, the first time this was played in concert was on the Born In The U.S.A. tour two years later.

When Bruce Springsteen toured with The Seeger Sessions Band in 2006, they played a drastically different arrangement of this song with multiple outros. This can be heard on the 2007 album Live in Dublin

Atlantic City

Well they blew up the chicken man in Philly last
Night now they blew up his house too
Down on the boardwalk they’re gettin’ ready
For a fight gonna see what them racket boys can do

Now there’s trouble busin’ in from outta state
And the D.A. can’t get no relief
Gonna be a rumble out on the promenade and
The gamblin’ commission’s hangin’ on by the skin of its teeth

[CHORUS:]
Everything dies baby that’s a fact
But maybe everything that dies someday comes back
Put your makeup on fix your hair up pretty and
Meet me tonight in Atlantic City

Well I got a job and tried to put my money away
But I got in too deep and I could not pay
So I drew what I had from the Central Trust
And I bough us two tickets on that Coast City bus

[CHORUS:]

Now our luck may have died and out love may
Be cold but with you forever I’ll stay
We’re goin’ out where the sand’s turnin’ to gold
So put on your stockin’s ’cause the night’s getting’ cold and maybe everything dies
That’s a fact but maybe everything that dies
Someday comes back

Now I been lookin’ for a job but it’s hard to find
Down here it’s just winners and losers and
Don’t get caught on the wrong side of that line
Well I’m tired of comin’ out on the losin’ end
So honey last night I met this guy and I’m
Gonna do a little favor for him
Well I guess everything dies baby that’s a fact
But maybe everything that dies someday
Comes back
Put your makeup on fix your hair up pretty and
Meet me tonight in Atlantic City

Squeeze – Is That Love —-Powerpop Friday

I read about Squeeze in Rolling Stone magazine when this album came out. They were being compared to the Beatles and I thought they were going to hit big. They did have a top ten hit off of this album…Tempted.

Is This Love is a very good power pop song that was on the band’s fourth album, East Side Story. It was written by Glenn Tilbrook and Chris Difford. It was written about Difford’s then-recent marriage.

Glen Tilbrook was influenced by The Beatles on this song. He also said the ending was Elvis Costello’s idea. Roger Bechirian and Elvis Costello produced this song and also the album.

Is That Love peaked at #35 in the UK…it was also #1 in Israel in 1981. The album peaked at #44 in the Billboard Album Chart,

Chris Difford:  “This was written around the time I got married. I remember being in the bathroom and seeing Cindy’s wedding ring next to the soap, which inspired me to write the lyric. I don’t think it was particularly about our marriage, but it started off a sequence of ideas in my head.”

Is That Love?

You’ve left my ring by the soap
Now is that love?
You cleaned me out, you could say broke
Now is that love?
The better, better, better it gets
The more these girls forget
That that is love

You won’t get dressed, you walk about
Now is that, is that
A teasing glance has pushed me out
Now is that, is that
The tougher, tougher, tougher it gets
The more my lips frequent
Now that is love

Beat me up with your letters, your walk out notes
Funny how you still find me right here at home
Legs up with a book and a drink
Now is that love that’s making you think

You’ve called my bluff, I’m not so hot
Now is that love?
My assets froze while yours have dropped
Now is that, is that
It’s the cupid, cupid, cupid disguise
That more-or-less survived
Now that is love

Beat me up with your letters, your walk out notes
Funny how you still find me right here at home
Legs up with a book and a drink
Now is that love that’s making you think

You’ve made my bed, the finger points
Now is that, is that love
The more you, more you, more you cool down
The easier love is found
Now that is love

Julian Lennon – Valotte

When I first heard this on the radio I thought it was a John Lennon song. Julian’s voice is different but can be very similar to John. 

This was Julian’s first single in the US and his second in the UK. His next American single, “Too Late for Goodbyes,” fared even better, going to #5 in the Billboard 100.

Julian recorded this at Muscle Shoals Sound Studios, which was located along the Tennessee River in Sheffield, Alabama.Jimmy Johnson who was one of the studio owners, Lennon’s lyric “Sitting on a pebble by the river playing guitar” was inspired by his time there.

Valotte peaked at #9 in the Billboard 100 and #9 in Canada.

The great director Sam Peckinpah directed Julian’s first two movies.

Julian Lennon: “The place where that was written, which was actually a beautiful little run-down chateau in the middle of France, which is where the label at the time decided was a good place to send their artists to work out their writing skills. I know that Thomas Dolby had been down there and a few other high-end acts at that point in time.

It was just a really tranquil, beautiful spot in the middle of nowhere, where one could get a little lonely, I guess. The song initially came from that idea of just being in this beautiful landscape and dreaming of the idea that if you found that love of your life, this is something that you’d aspire to. It’s as simple as that, really.”

 

From Songfacts

The album was dedicated to “My mother Cynthia and to my Father.” Julian is John Lennon’s first son. His mother is Cynthia Lennon, who John was married to before Yoko (they had a son named Sean). Julian sounds a lot like his dad, and a lot of people were surprised to learn it was not a John Lennon song when they first heard it.

On “Valotte,” Lennon was backed by bass player David Hood, and keyboard player Barry Beckett, and drummer Roger Hawkins, who were the other owners of the studio.

The album was mixed at The Hit Factory recording studio in New York City on the same console John Lennon used to record the album Double Fantasy.

Most Americans got their first look at Julian Lennon on MTV, which gave his clips consistent airplay. In the UK, he often appeared in the gossip press, but his interviews to promote the Valotte album gave the first real insights into his personality and his feelings toward his dad. In these early interviews, he stressed that he was forming his own identity, and in no way trying to emulate his father’s music. He also spent a lot of time disproving the notion that he was a coddled rich kid; he went to public schools and did not receive money from John Lennon’s estate until he was older.

As for the question of how he felt toward his dad, Julian explained that he was proud of his dad’s work, but it was very difficult growing up with an absent father. In his first Melody Maker interview, he said, “I always had something against him, but I never knew what it was… apart from him leaving home and all that. It was because I went to visit him but he never came to visit me. That’s the only thing that got me.”

Justin Clayton and Carlton Morales, who played guitar on the album, co-wrote this song with Lennon.

Valotte

Sitting on the doorstep of the house I can’t afford
I can feel you there
Thinking of a reason, well, it’s really not very hard
to love you even though you nearly lost my heart
How can I explain the meaning of our love
It fits so tight, closer than a glove

[ Chorus ]

Sitting on a pebble by the river playing guitar
Wonderin’ if we’re really ever gonna get that far
Do you know there’s something wrong
‘Cause I’ve felt it all along

I can see you face in the mirrors of my mind
Will you still be there
We’re really not so clever as we seem to think we are
We’ve always got our troubles
So we’ll solve them at the bar
The days go by, we seem to drift apart
If I could only find a way to keep hold of your heart

[ Repeat chorus ]

Sitting in the valley as I watch the sun go down
I can see you there
Thinking of a reason, well, it’s really not very hard
to love you though you nearly lost my heart
When will we know when the change is gonna come
I’ve got a good feeling and it’s coming from the sun

Sitting on a pebble by the river playing guitar
Wonderin’ if we’re really ever gonna get that far
Do you know there’s something wrong
We’ll stick together ’cause we’re strong

 

AC/DC – You Shook Me All Night Long

The album Back In Black was very popular. I think it was a requirement for every teenage boy to own a copy or two all over the world.

The rock band I was in my Sophomore year in high school played this song in our first gig in the school theater. We had the only singer around who could actually sing it. The riff to the song is one of the more memorable ones in rock.

This was the first AC/DC single and album featuring new lead singer Brian Johnson. He replaced Bon Scott, who died February 19, 1980 after a drinking binge. Scott’s father made it clear to the band that they should find a new singer and keep going.

The album peaked at #4 in the Billboard Album Charts, #1 in Canada, #24 in New Zealand, and #1 in the UK in 1980.

You Shook Me All Night Long peaked at #35 in the Billboard 100 and #38 in the UK in 1980.

Brian Johnson said that the inspiration for this song came from seeing images of American girls while recording in the Bahamas for the album.

From Songfacts

Brian Johnson came up with the line “She was a fast machine, she kept her motor clean” when he realized that cars and women were very much alike – they go fast, let you down, but then make you happy again when you see the new model. AC/DC has never been known for deep, meaningful lyrics.

Angus and Malcolm Young have received lots of praise for their guitar work on this track. The song has made many lists of top guitar solos in rock. 

Brian Johnson told UK’s Absolute Radio about the inspiration behind the song. “The boys had a title,” he recalled. “Malcolm and Angus [Young] said, ‘Listen, we’ve got this song. It’s called ‘Shook Me All Night Long.’ That’s what we want the song to be called.’ And if you listen to the chords, [the chorus] just fell into place so I can’t claim any credit on that thing.”

“It was as quick as it had to be, which was that night. I guess I had to try and impress somebody,” he continued. “It was just a thing that came at the time, and I still think it’s one of the greatest rock and roll riffs I’ve ever heard in my life.”

Some copies of the single were pressed incorrectly – they play a song called “Shake A Leg” and are considered collector’s items.

MTV wasn’t on the air when this song was released, but in Australia and England, there were some TV shows that would show videos, so bands popular in those countries would sometimes make them. AC/DC made one for this song, which was directed by David Mallet, who also did some of Blondie’s videos. He based the video on the comic strip character Andy Capp, which was very popular in England. Brian Johnson took on the drunkard persona of the character, and we see him come home to a room of scantily clad women, one of which is riding a mechanical bull. Mallet also directed their video for “Thunderstruck.”

The album has sold over 40 million copies worldwide. 

AC/DC played this when they were inducted into the Rock and Roll Hall of Fame in 2003. Steven Tyler of Aerosmith, who inducted them, sang on it with them.

This is a very popular song at strip clubs (or so we’re told…). The lyrics and groove go very well with pole dancing.

This plays over the end credits of the movie A Knight’s Tale. >>

Shania Twain sang this on her Up! Close And Personal TV special (also released as a DVD). Her then-husband, Mutt Lange, produced Back In Black

In 2002 Celine Dion covered this song together with Anastacia at a VH1 Divas Las Vegas concert. The French-Canadian singer came on stage playing air-guitar and proceeded to belt out this track. Though never released as a single, some radio stations played her version of this classic heavy metal track. In a 2008 poll conducted by a panel of experts in the Total Guitar magazine her rendition was awarded the dubious honor of worst cover song of all time. Total Guitar editor Stephen Lawson commented “Celine Dion covering AC/DC is sacrilege.” Two more covers by pop acts of legendary tunes by rock acts followed Dion in the survey. Sugababes and Girls Aloud 2007 version of Aerosmith and Run DMC’s “Walk This Way” came second on the list and Westlife’s 1999 version of “More Than Words” by Extreme, a track on their self-titled debut album, came third.

Johnson told USA Weekend that this song is for him the highlight of the band’s catalog because: “It was the first song I wrote with the guys, and it has a special groovy beat that won’t let you go. It has such a special place in my heart, and I still love to sing it onstage. To me, it might be one of the best rock songs ever written – if I do say so myself.”

You Shook Me All Night Long

She was a fast machine
She kept her motor clean
She was the best damn woman I had ever seen
She had the sightless eyes
Telling me no lies
Knockin’ me out with those American thighs
Taking more than her share
Had me fighting for air
She told me to come but I was already there
‘Cause the walls start shaking
The earth was quaking
My mind was aching
And we were making it and you

Shook me all night long
Yeah you shook me all night long

Working double time
On the seduction line
She was one of a kind, she’s just mine all mine
Wanted no applause
Just another course
Made a meal out of me and came back for more
Had to cool me down
To take another round
Now I’m back in the ring to take another swing
‘Cause the walls were shaking
The earth was quaking
My mind was aching
And we were making it and you

Shook me all night long
Yeah you shook me all night long

And knocked me out and then you
Shook me all night long
You had me shakin’ and you
Shook me all night long
Yeah you shook me
Well you took me

You really took me and you
Shook me all night long
Oh you
Shook me all night long
Yeah, yeah, you
Shook me all night long
You really took me and you
Yeah you shook me, yeah you shook me
All night long

Grateful Dead – Touch of Grey

I knew of the Grateful Dead from some older brothers of friends I had and particularly one. I had heard of them as a kid in the seventies before I actually heard them. I always pictured this heavy tough metal band with a name like that. Whenever they toured they would draw a good amount of fans despite having no top ten hits…until this song. After this song, they drew huge amount of attention and fans.

When this came out in the 80s, it was like Deadmania. With MTV  suddenly everyone was talking about them. While big success is great it did cause some trouble at some of their concerts. Chilled-out Deadheads followed them around the country for decades. Some financed their travels by hawking food, T-shirts, and handicrafts…not to mention pot and LSD usually peacefully. In the years more would add to the fold…some described it as a community more than a concert. In 1987 they suddenly had an influx of new young fans (Touchheads) and some didn’t know what the band was about. Along with them came some gate crashers and riots.

With the backing of the band, older Deadheads handed out flyers on how to act, trying to mellow out the crowd.

Robert Hunter started writing the lyrics to this song in 1980, and the Grateful Dead first performed it in 1982. They played it sporadically over the next few years and finally recorded it for their 1987 album In The Dark.

In the Dark peaked at #6 in the Billboard Album Chart. It was their first album since the 1980 Go To Heaven. Touch of Grey peaked at #9 in the Billboard 100.

 

From Songfacts

Robert Hunter wrote the lyrics, as he did with many Dead songs, although Jerry Garcia wrote the line, “Light a candle, curse the glare.” This is according to the book Box Of Rain, which was written by Hunter and is a collection of his published songs. In the book, it is “A Touch of Grey” and has an asterisk next to the line Jerry wrote. >>

According to David Dodd in The Annotated Grateful Dead Lyrics, the line “Light a Candle, curse the glare” is a play on Adlai Stevenson’s 1962 reference to Eleanor Roosevelt’s death. He said, “She would rather light a candle than curse the darkness.” The line, “The Ables and the Bakers and the Cs” refers to the first two words in an older version of the military communication alphabet, “Able” and “Baker.” The modern version starts with “Alpha” and “Bravo.”

The song is about the band aging gracefully. The phrase “Touch Of Grey” is a reference to getting older, as for most people, their hair starts getting grey as they age.

Aging gracefully is a challenge, especially in the music industry. According to Dead drummer Mickey Hart, Robert Hunter wrote the lyric as a pick-me-up. “When he wrote ‘Touch Of Grey,’ we were struggling,” Hart said. “But it became an anthem to us. It perked us up.”

This was The Grateful Dead’s first and only hit song. They never set out to be on the radio, enthralling fans with their mind-bending musical landscapes and confounding critics with their interminable jamming. Their large and loyal following ensured that their albums sold well and their concerts were full. For many of the Dead faithful, it was strange hearing the group on pop radio and seeing them on MTV, but the song fit well with their canon and was clearly not an attempt to chase the ’80s trends.

The song did change the dynamic of Dead discovery. Most fans were turned on to the band by listening to their classic albums or going to a concert with a seasoned follower, but now there was a new poseur class who came on board for “Touch Of Grey.”

The line, “I will get by, I will survive,” became a mantra of resilience in the Dead community. When Jerry Garcia fell into a diabetic coma in July 1986, it looked like the group could be finished; when he returned to action in December, the group opened with “Touch Of Grey,” reassuring fans that they would indeed get by.

Following Garcia’s death in 1995, various incarnations of the band and associated acts like Ratdog and Phil Lesh & Friends have played the song. A notable performance came on the final night of their Fare Thee Well tour on July 5, 2015 in Chicago when Trey Anastasio and Bruce Hornsby each sang a verse. When the band returned that year as Dead & Company with John Mayer in the fold, the song went back into rotation.

The band made a video for this song, which was the first one they made for MTV. Directed by Justin Kreutzmann, they shot it after a concert at Laguna Seca Raceway in California on May 9, 1987, which let them use a real audience. The crowd was re-admitted after the shoot was set up; they saw the band run through the song in human form, and also as skeleton likenesses. This footage was combined to create the clip.

The video was included on Dead Ringers: The Making of Touch of Grey, which was sold as a home video.

The Dead were known for varying their setlists so that every show was different, and they didn’t change this tradition even when this song was on the charts. Instead of catering to newcomers by playing their hit single at every concert, they only played it when they felt like it.

The Mighty Diamonds covered this in 1996 on Fire On The Mountain, an album of reggae versions of Grateful Dead songs.

In addition to its #9 showing on the Hot 100, this song went to #1 on the Mainstream Rock chart and #15 on the Adult Contemporary tally.

Touch of Grey

Must be getting early clocks are running late
Faint light of the morning sky looks so phony
Dawn is breaking everywhere
Light a candle curse the glare
Draw the curtains I don’t care ’cause it’s alright

I will get by I will get by
I will get by I will survive

I see you’ve got your fist out say your piece and get out
Yes I get the gist of it but it’s alright
Sorry that you feel that way the only there is to say
Every silver lining’s got a touch of grey

I will get by I will get by I will get by I will survive

It’s a lesson to me the eagles and the beggars and the seas
The ABC’s we all must face try to keep a little grace

It’s a lesson to me the deltas and the east and the freeze
The ABC’s we all think of and try to win a little love

I know the rent is in arrears the dog has not been fed in years
It’s even worse than it appears but it’s alright
Cow’s giving kerosene, kid can’t read at seventeen
The words he knows are all obscene but it’s alright

I will get by I will get by I will get by I will survive

The shoe is on the hand that fits, there’s really nothing much to it
Whistle through your teeth and spit ’cause it’s alright
Oh well a touch of grey kinda suits you anyway
And that was all I had to say and it’s alright

I will get by I will get by I will get by I will survive

We will get by we will get by we will get by we will survive
We will get by we will get by we will get by we will survive

 

Restless Sleepers – If We Never Meet Again

Jules Shear was born in Pittsburgh and his biggest success has come in writing or co-writing hits for others…most notably “All Through the Night” for Cyndi Lauper and “If She Knew What She Wants” for The Bangles. He also worked with Lindsey Buckingham.

In 1988 Reckless Sleepers released their first and only album, Big Boss Sounds. The band’s label, college radio mainstay I.R.S. Records, concentrated the promotional push on the band’s lead singer and chief songwriter, Jules Shear. They inserted a sticker on the front of the record and shifted the billing to “RECKLESS SLEEPER Starring Jules Shear,”

Jules wrote the song and inexplicably gave this song away to Tommy Conwell & the Young Rumblers and they…pushed by Columbia records made it to #48 on the Billboard 100 and #8 in the Main Stream Rock Tracks in 1988. The Reckless Sleeper’s version didn’t chart because they were beaten to the punch with their own song.

Personally, I like The Reckless Sleepers version better. The guitar intro makes it worth it.

If We Never Meet Again

Well there’s one thing I’d like to rearrange
But after everything’s already happened and there’s nothing left to change
They can take their advice and use it all on themselves
‘Cause when all the talking stops I want to have something else

[Pre-Chorus 1]
I want to have a little faith
I want to know what a boy and girl can do
When they’re dizzy cause they’re just not spinning with this world

[Chorus]
Ah if we never meet again
If goodbyes remain unspoken
I won’t glorify our past
But our bond remains unbroken
If we never meet again

[Verse 2]
Well there’s one thing that I’ll never forget
It’s the beauty of a friendship that’s not over yet
I know how just one smile can be planted like a seed
And I want to do that with somebody else the way it was done for me

[Pre-Chorus 2]
I want to have a little faith
There’s something better at the end of this path
Cause these memories get old and flat like photographs

[Chorus]
Ah if we never meet again
If goodbyes remain unspoken
I won’t glorify our past
But our bond remains unbroken
If we never meet again

[Verse 3]
Now there’s one thing that I don’t need to even up
You can be what they’ve made you into or you can make your own luck
You can’t blindly fight your enemies
You can’t blindly follow your friends
I know it’s happened so many times
I guess it’s gonna happen again

[Pre-Chorus 3]
But I gotta have faith
I got to know that a boy and a girl
Can still make it even when they’re just not spinning with this world

[Chorus]
Ah if we never meet again
If goodbyes remain unspoken
I won’t glorify our past
But our bond remains unbroken

If we never meet again
If goodbyes remain unspoken
I won’t glorify our past
But our bond remains unbroken
If we never meet again

 

 

My 10 Favorite Powerpop Songs

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

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

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

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

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

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

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

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

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

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

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

 

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

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

John Mellencamp – Cherry Bomb

One of my favorite John Mellencamp songs. Back when it was released I liked it because it was a catchy song. Now I like it more because I can relate to it about growing up. I will admit though…I always thought he said “That’s when a spoke was a spoke“… I thought what? Must be some crazy Indiana thing….then I thought…no that can’t be right…it must be “That’s when a smoke was a smoke“….Wrong again…it is… “That’s when a sport was a sport.

The prominence of the accordion and violin in this are usually not associated with Rock and Roll but it makes the song sound fresh. The song peaked at #8 in the Billboard 100, #5 in Canada, and #4 in New Zealand.

It was on the album The Lonesome Jubilee released in 1987. The album peaked at #6 in the Billboard Album Chart in 1987.

Cherry Bomb

Well I lived on the outskirts of town
In an eight room farmhouse, baby
When my brothers and friends were around
There was always somethin’ doin’
Had me a couple of real nice girlfriends
Stopped by to see me every once in a while
When I think back about those days
All I can do is sit and smile

That’s when a sport was a sport
And groovin’ was groovin’
And dancin’ meant everything
We were young and we were improvin’
Laughin’, laughin’ with our friends
Holdin’ hands meant somethin’, baby
Outside the club “Cherry Bomb”
Our hearts were really thumpin’
Say yeah yeah yeah
Say yeah yeah yeah

The winter days they last forever
But the weekends went by so quick
Went ridin’ around this little country town
We were goin’ nuts, girl, out in the sticks
One night, me with my big mouth
A couple guys had to put me in my place
When I see those guys these days
We just laugh and say do you remember when

That’s when a sport was a sport
And groovin’ was groovin’
And dancin’ meant everything
We were young and we were improvin’
Laughin’, laughin’ with our friends
Holdin’ hands meant somethin’, baby
Outside the club “Cherry Bomb”
Our hearts were really thumpin’
Say yeah yeah yeah
Say yeah yeah yeah

Say yeah yeah yeah
Say yeah yeah yeah

Seventeen has turned thirty-five
I’m surprised that we’re still livin’
If we’ve done any wrong
I hope that we’re forgiven
Got a few kids of my own
And some days I still don’t know what to do
I hope that they’re not laughing too loud
When they hear me talkin’
Like this to you

That’s when a sport was a sport
And groovin’ was groovin’
And dancin’ meant everything
We were young and we were improvin’
Laughin’, laughin’ with our friends
Holdin’ hands meant so much, baby
Outside the club “Cherry Bomb”
Our hearts were really thumpin’
Say yeah yeah yeah
Say yeah yeah yeah