I remember this show in the late seventies and early eighties. The performers included The Who, Rolling Stones, Bruce Springsteen, David Bowie, AC/DC, Elton John, Tom Petty, and more. You could tune in on the radio and hear concerts and interviews.
It all started on Feb. 18, 1973, when the King Biscuit Flower Hour debuted on the D.I.R. Radio Network…on FM stations across the U.S. The innovative Sunday night series featured recorded concerts and interviews with rock’s biggest stars. King Biscuit would expand its reach to more than 300 stations before it ceased the weekly production of new shows in 1993. Reruns continued until 2005.
The first KBFH show was broadcast on February 18, 1973 and featured Blood, Sweat & Tears, the Mahavishnu Orchestra, and Bruce Springsteen. Columbia Records was one of the sponsors of the first shows, along with Pioneer High Fidelity and Scotch recording tape.
The concerts were usually recorded with a mobile multi-track recording truck, then mixed and edited for broadcast on the show within a few weeks. In the 1970s, the show was sent to participating radio stations on reel-to-reel tape. They soon switched from tape to album and then to CDs.
Although closely associated with classic rock in its later years, the King Biscuit Flower Hour dedicated much air time to new and emerging artists, including new wave and modern rock artists in the late 1970s and early 1980s.
In 1982, a three-alarm fire damaged the Manhattan office tower that housed D.I.R. Broadcasting. Reportedly, many of the King Biscuit Flower Hour recordings were lost in the fire.
By the end of the KBFH series and the sale of its assets to Wolfgang’s Vault, DIR had impressively amassed over 850 rock concerts, approximately 200 live interviews, and almost 400 country music concerts, which the company recorded on its separate Silver Eagle brand, along with 150 comedy shows.
In 2006, the King Biscuit tape archives were acquired by Wolfgang’s Vault which began streaming concerts online and has made some available for download.
There weren’t many options back then to see or hear rock performers…Don Kirshner Rock Concert, Midnight Special, and some on SNL..and maybe a few specials.
This will close out the Born in the USA weekend but I’ll cover the other songs soon. This one I really think would have been a hit if they would have released it as a single…but that can be said about a few other ones also.
This song was really poignant when I heard it because I was about to graduate and I was starting to say goodbye to a lot of classmates that I knew I’d never see again.
This was written as a farewell message to guitarist Steven Van Zandt, who left the E Street Band during the recording of Born In The U.S.A. to pursue other projects. Van Zandt returned to the band years later.
From Songfacts
Springsteen called this “a good song about youthful friendship.”
In this song, Springsteen sings from the perspective of guy going to visit someone important to him, only to find that this person – Bobby Jean – has left town. Many assumed that Bobby Jean was a girl, which changes the storyline considerably. This interpretation plays out in the 1995 Nick Hornby book High Fidelity, where the main character, a record store clerk, says: “There’s this Springsteen song, ‘Bobby Jean,’ off Born In The U.S.A. About a girl who’s left town years before and he’s pissed off because he didn’t know about it, and he wanted to say goodbye, tell her that he missed her, and wish her good luck. Well, I’d like my life to be like a Springsteen song. Just once.”
The book was adapted into a movie in 2000, starring John Cusack. Springsteen appears in the film in a dream sequence; this was his first time acting in a movie. In this scene, he closes by telling Cusack, “Good luck, goodbye,” echoing the last line of this song. The song itself is not named in the film though.
Bobby Jean
Well, I came to your house the other day Your mother said you went away She said there was nothing that I could have done There was nothing nobody could say Me and you, we’ve known each other ever since we were sixteen I wished I could have known I wished I could have called you Just to say goodbye, Bobby Jean
Now, you hung with me when all the others Turned away, turned up their nose We liked the same music, we liked the same bands We liked the same clothes We told each other that we were the wildest The wildest things we’d ever seen Now I wished you would have told me I wished I could have talked to you Just to say goodbye, Bobby Jean
Now, we went walking in the rain, Talking about the pain that from the world we hid Now there ain’t nobody, nowhere, nohow Gonna ever understand me the way you did Maybe you’ll be out there on that road somewhere In some bus or train traveling along In some motel room there’ll be a radio playing And you’ll hear me sing this song Well, if you do, you’ll know I’m thinking of you And all the miles in between And I’m just calling you one last time Not to change your mind, but just to say I miss you, baby Good luck, goodbye, Bobby Jean
Glory Days is a true story. In this song, Springsteen sings about a chance encounter with an old friend who was a star baseball player in high school. The old friend is Joe DePugh, and the encounter really did happen.
Springsteen and DePugh were classmates at St. Rose of Lima School in Freehold, New Jersey and played baseball together in the Babe Ruth League. They were good friends but drifted apart as Springsteen pursued music while DePugh took a shot at sports (he tried out for the Los Angeles Dodgers). In the summer of 1973, DePugh was walking into a bar called the Headliner in Neptune, New Jersey while Springsteen was walking out.
Bruce went back in, where he and his old friend talked about the good old days until the bar closed. When “Glory Days” was released, DePugh was living in Vermont, where word got out that he was the subject of the song. Springsteen confirmed the story at his 30th high school reunion in 1997, but DePugh wasn’t there; they finally met up again in 2005 when they met for lunch and once again relived their glory days.
The song peaked at #5 in the Billboard 100, #17 in Canada, #34 in New Zealand, and #17 in the UK in 1985. The song was released in 1984 and really popular through 1985 and remains popular to this day.
If you want to read about Joe DePugh here is a link:
This is one of Springsteen’s favorites. He almost always plays it at the impromptu bar gigs he is famous for on the Jersey Shore.
In concert, Springsteen often extends this to over 10 minutes. Perhaps the most compact version he ever played was at halftime of the 2009 Super Bowl, when he squeezed four songs into a 12-minute set.
Springsteen: “The first verse actually happened, the second verse mostly happened, the third verse, of course, is happening now.”
Originally, this contained a fourth verse which mentioned Springsteen’s father working on the Ford assembly line.
Springsteen performed this June 25, 1993 on the last David Letterman Show on NBC. Letterman is a huge fan but had never had Springsteen on. Bruce did go on the show a few more times after it moved to CBS.
This was one of seven US Top 10 hits on Born In The U.S.A. The band first recorded it in 1982, but it was not released until the album came out.
The video was directed by John Sayles, who also did Springsteen’s promos for “Born In The U.S.A.” and “I’m On Fire.” In the video, Springsteen plays a cross between the character telling the story and the guy he’s singing about.
The full version of the video starts with Springsteen working construction (in real life he never had a job outside of music). In his reverie, he recalls his days playing baseball. Amid the scenes where the E Street Band is playing the song in a bar (Maxwell’s in Hoboken, New Jersey), we see him reminiscing with his glove and trophies from the glory days. At the end of the video Springsteen is on the field pitching to his son until his wife comes by in a station wagon to pick them up. It’s pretty clear that Springsteen was never much of a pitcher – his form is terrible. He was a right fielder when he played.
Julianne Phillips, who was Springsteen’s wife at the time, plays that role in the video, appearing in just one shot where she comes to get her boys. Patti Scialfa, who became the next Mrs. Springsteen in 1991, had joined the E Street Band in 1984 and gets a lot more face time in the clip.
On the day Springsteen released his album The Rising, he played a concert on The Today Show. This was the only song he played that was not on the new album.
Glory Days
I had a friend was a big baseball player Back in high school He could throw that speedball by you Make you look like a fool boy Saw him the other night at this roadside bar I was walking in, he was walking out We went back inside sat down had a few drinks But all he kept talking about was
Glory days, well, they’ll pass you by Glory days, in the wink of a young girl’s eye Glory days, glory days
Well there’s a girl that lives up the block Back in school she could turn all the boy’s heads Sometimes on a Friday I’ll stop by And have a few drinks after she put her kids to bed Her and her husband Bobby well they split up I guess it’s two years gone by now We just sit around talking about the old times, She says when she feels like crying She starts laughing thinking about
Glory days, well, they’ll pass you by Glory days, in the wink of a young girl’s eye Glory days, glory days
Think I’m going down to the well tonight And I’m going to drink till I get my fill And I hope when I get old I don’t sit around thinking about it But I probably will Yeah, just sitting back trying to recapture A little of the glory of, well time slips away And leaves you with nothing mister but Boring stories of
Glory days, well, they’ll pass you by Glory days, in the wink of a young girl’s eye Glory days, glory days Yeah, they’ll pass you by Glory days, in the wink of a young girl’s eye Glory days, glory days
A lot of memories are connected with this song. Summer of 1985. I never got into much trouble in high school…never got caught making mischief anyway… but I did have this adventure after graduation. I was driving to Florida with 3 other guys with this song blasting out with 140 bucks in my pocket…to Cocoa Beach, Florida…15 hours away. I was the rich one on this trip.
A bunch of guys that just graduated and are acting stupid. We learned if you tilted a coke machine (those back then), Cokes would stream out. Funny how you try things out when you are 18 and stupid. We filled a couple of coolers up with them. It’s a wonder we weren’t caught or crushed by all of those machines. We also halfway wrecked a hotel room (TV was bolted down, thank goodness) and dreaded getting back home, where we would have to begin…gulp…life. No, I never tilted another coke machine, wrecked a hotel room, or anything like it again. 4 guys in a Toyota Celica for 15 hours…not comfortable but when you are 18…fun all the same…now I’d be in traction after such a trip.
Certain songs take you back to a time. Walking On Sunshine, Glory Days, and Darlington County all connect me with that trip. Back to the song! This is one of the very few on the album that wasn’t a hit…but it’s just as good as many of the others.
Bruce originally wrote this for his 1978 album Darkness On The Edge Of Town, but it didn’t make the cut. The riff in the song reminds me of Cadillac Ranch that was on The River album.
The song resolves itself in the end with the narrater’s buddy in trouble.
Driving out of Darlington County My eyes seen the glory of the coming of the Lord Driving out of Darlington County Seen Wayne handcuffed to the bumper of a state trooper’s Ford
Darlington County
Driving in to Darlington County Me and Wayne on the Fourth of July Driving in to Darlington County Looking for some work on the county line We drove down from New York City Where the girls are pretty but they just want to know your name Driving in to Darlington City Got a union connection with an uncle of Wayne’s We drove eight hundred miles without seeing a cop We got rock and roll music blasting off the T-top, singing
Sha la la, sha la la la la Sha la la la, la la la Sha la la, sha la la la la Sha la la la, la la la
Hey little girl, standing on the corner Today’s your lucky day for sure, all right Me and my buddy, we’re from New York City We got two hundred dollars, we want to rock all night Well girl, you’re looking at two big spenders Why, the world don’t know what me and Wayne might do Our pa’s each own one of the World Trade Centers For a kiss and a smile, I’ll give mine all to you Come on baby, take a seat on my fender It’s a long night, and tell me, what else were you gonna do? Just me and you, we could
Sha la la, sha la la la la Sha la la la, la la la Sha la la, sha la la la la Sha la la la, la la la
Little girl, sitting in the window Ain’t seen my buddy in seven days, play it boys County man tells me the same thing He don’t work and he don’t get paid
Little girl, you’re so young and pretty Walk with me and you can have your way And we’ll leave this Darlington City For a ride down that Dixie Highway
Driving out of Darlington County My eyes seen the glory of the coming of the Lord Driving out of Darlington County Seen Wayne handcuffed to the bumper of a state trooper’s Ford
Sha la la, sha la la la la Sha la la la, la la la Sha la la, sha la la la la Sha la la la, la la la
Sha la la, sha la la la la Sha la la la, la la la Sha la la, sha la la la la Sha la la la, la la la
Sha la la, sha la la la la Sha la la la, la la la Sha la la, sha la la la la Sha la la la, la la la
Get your bandanas ready…this weekend I’m going to cover some of the Born In The USA album by Bruce Springsteen. We will start off with the title track.
Springsteen wrote this about the problems Vietnam veterans encountered when they returned to America. Vietnam was the first war the US didn’t win, and while veterans of other wars received a hero’s welcome, those who fought in Vietnam were mostly ignored when they returned to their homeland.
The other song that has someone really ripping the vocals is “Twist and Shout” sung by John Lennon with the Beatles.
The song peaked at #9 in the Billboard 100, #1 in New Zealand, #11 in Canada, and #5 in the UK in 1985. This is the first song and title track to one of the most popular albums ever…Born In The U.S.A. sold over 18 million copies.
I remember back in the 80s Chrysler offered Springsteen $12 million to use this in an ad campaign with Bruce… Springsteen turned them down so they used “The Pride Is Back” by Kenny Rogers instead. Springsteen has never let his music be used to sell products.
From Songfacts
The original title was “Vietnam.” The director Paul Schrader sent Springsteen a script for a movie called Born In The U.S.A., about a rock band struggling with life and religion. This gave Bruce the idea for the new title. Unfortunately for Schrader, when he was finally ready to make the movie in 1985, the title “Born In The U.S.A.” was too associated with the song. Springsteen helped him out however, providing the song “Light Of Day,” which became the new title for Schrader’s movie and the feature song in the film.
This is one of the most misinterpreted songs ever. Most people thought it was a patriotic song about American pride, when it actually cast a shameful eye on how America treated its Vietnam veterans. Springsteen considers it one of his best songs, but it bothers him that it is so widely misinterpreted. With the rollicking rhythm, enthusiastic chorus, and patriotic album cover, it is easy to think this has more to do with American pride than Vietnam shame.
The single was released in England as a double A-side with “I’m On Fire.” It was the first song Springsteen wrote for the album. He first recorded it on January 3, 1982 on the tape that became his album Nebraska later that year.
While campaigning in New Jersey in 1984, Ronald Reagan said in his speech: “America’s future rests in a thousand dreams inside your hearts. It rests in the message of hope in songs so many young Americans admire: New Jersey’s own Bruce Springsteen. And helping you make those dreams come true is what this job of mine is all about.”
Springsteen talked about this in a 2005 interview with National Public Radio. Said Bruce: “This was when the Republicans first mastered the art of co-opting anything and everything that seemed fundamentally American, and if you were on the other side, you were somehow unpatriotic. I make American music, and I write about the place I live and who I am in my lifetime. Those are the things I’m going to struggle for and fight for.”
Speaking of how the song was misinterpreted, he added: “In my songs, the spiritual part, the hope part is in the choruses. The blues, and your daily realities are in the details of the verses. The spiritual comes out in the choruses, which I got from gospel music and the church.”
This song inspired the famous Annie Leibowitz photo of Springsteen’s butt against the backdrop of an American flag. Bruce had to be convinced to use it as the album’s cover. Some people thought it depicted Springsteen urinating on the flag.
Looking back on the cover in a 1996 interview with NME, Springsteen said: “I was probably working out my own insecurities, y’know? That particular image is probably the only time I look back over pictures of the band and it feels like a caricature to me.”
According to Max Weinberg, Bruce attempted to do the song in a rockabilly trio style, with a country beat.
The drum solo towards the end of the song was completely improvised. Drummer Max Weinberg said that the band was recording in an oval-shaped studio, with the musicians separated into different parts. Springsteen, at the front, suddenly turned towards Weinberg (at the back) after singing and waved his hands in the air frantically to signal drumming. Weinberg then nailed it.
Eight minutes were cut from the song, which Max Weinberg said went on into a psychedelic jam.
Bruce performed solo, acoustic versions on his tours in 1996 and 1999. He wanted to make sure the audience understood the song.
Springsteen allowed notorious rap group The 2 Live Crew to sample this for their song “Banned In The U.S.A.” in 1990, after the group was arrested for performing songs with obscene lyrics. Bruce felt they had a constitutional right to say whatever they wanted in their songs.
This was recorded live in the studio in three takes.
Richard “Cheech” Marin parodied this in the song “Born In East L.A.,” which came from his 1987 movie of the same name. Sample lyrics:
Next thing I know, I’m in a foreign land
People talkin’ so fast, I couldn’t understand
Born In The U.S.A. was the first CD manufactured in the United States for commercial release. It was pressed when CBS Records opened its CD manufacturing plant in Terre Haute, Indiana in 1984. Discs previously had been imported from Japan.
The children’s TV show Sesame Street reworked this as “Barn In The U.S.A.,” credited to Bruce Stringbean and the S. Street Band.
Springsteen’s fist-pumping recitations of this lament for the plight of the Vietnam War veterans during his 1984-85 Born In The USA tour contributed to its mis-reading as a patriotic song by US right-wingers. Critic Greil Marcus wrote: “Clearly the key to the enormous explosion of Bruce’s popularity is the misunderstanding… He is a tribute to the fact that people hear what they want to hear.”
The video was directed by John Sayles, who wrote the screenplay for the 1978 movie Piranha and later directed the films Lone Star, Honeydripper and Eight Men Out . Most of the video is footage of Springsteen performing the song in concert – he wore the same outfit for a few consecutive shows so Sayles could get the shots (Springsteen didn’t want to lip-synch). Other footage came from a Vietnamese neighborhood in Los Angeles and Springsteen’s old stomping ground, Asbury Park, New Jersey. The video stuck to the true meaning of the song, with shots of factory workers, regular folks walking the streets, soldiers training for combat, and a line of guys waiting for payday loans. Sayles said in the book I Want My MTV: “It was right around the time that Ronald Reagan had co-opted ‘Born In The U.S.A.’ and Reagan, his policies were everything that the song was complaining about. I think some of the energy of the performance came from Bruce deciding, ‘I’m going to claim this song back from Reagan.'”
This was not the first hit song to tell a story about a Vietnam veteran’s return to America. In 1982, The Charlie Daniels Band took “Still in Saigon” to #22 in America. That song was written by Dan Daley, who felt that only two artists were right for it. “Since it was such a political song, the strategy was there were only two artists that it would make sense to give it to,” Daley told us. “One was Bruce Springsteen and the other was Charlie Daniels. Because both had made public statements in support of Vietnam veterans.”
Springsteen has often reflected on the Vietnam War in his work. He didn’t serve because he dodged the draft, pretending to be a misfit high on LSD. He has expressed guilt, knowing someone else went in his place, and may not have returned.
When Springsteen performed a spare, acoustic version of the song during his Springsteen On Broadway run from 2017-2018, he would introduce it with a story about Walter Cichon (pronounced sha-shone), leader of a New Jersey rock band called the Motifs, who seemed destined for stardom. Cichon got drafted and in 1968 went missing in action (Springsteen’s 2014 song “The Wall” is about Cichon).
With this backdrop, “Born In The U.S.A.” tells the tragic story not just of soldiers who were neglected when they returned to Vietnam, but also to those who never made it home.
Jennifer Lopez incorporated a bit of this song into her set when she performed at halftime of the 2020 Super Bowl. Lopez honored both her homeland and her heritage by donning a feathered cape with the Puerto Rican flag on one side and the American flag on the other. When she revealed the Puerto Rican side, her daughter Emme sang the chorus of “Born In The U.S.A.” Lopez was born in New York City.
Springsteen left the song out of his set when he played the Super Bowl halftime show in 2009.
The opening line, “Born down in a dead man’s town,” is quoted in Stephen King’s It (1986) to introduce “Part 1: The Shadow Before,” which tells us all about the cursed town of Derry, Maine, and the children who came together to fight an evil clown.
Born In The USA
Born down in a dead man’s town The first kick I took was when I hit the ground End up like a dog that’s been beat too much ‘Til you spend half your life just covering up
Born in the U.S.A I was born in the U.S.A I was born in the U.S.A Born in the U.S.A
Got in a little hometown jam So they put a rifle in my hand Sent me off to a foreign land To go and kill the yellow man
Born in the U.S.A I was born in the U.S.A I was born in the U.S.A I was born in the U.S.A
Come back home to the refinery Hiring man said “son if it was up to me” Went down to see my V.A. man He said “son, don’t you understand”
I had a brother at Khe Sanh fighting off the Viet Cong They’re still there, he’s all gone He had a woman he loved in Saigon I got a picture of him in her arms now
Down in the shadow of the penitentiary Out by the gas fires of the refinery I’m ten years burning down the road Nowhere to run ain’t got nowhere to go
Born in the U.S.A I was born in the U.S.A Born in the U.S.A I’m a long gone Daddy in the U.S.A Born in the U.S.A Born in the U.S.A Born in the U.S.A I’m a cool rocking Daddy in the U.S.A
After watching the Pretenders on the Concert for Kampuchea I’ve been listening to Pretenders lately. The original band was something special. The original band was James Honeyman-Scott (lead guitar, backing vocals, keyboards), Pete Farndon (bass guitar, backing vocals), and Martin Chambers (drums, backing vocals, percussion)…and of course Chrissie Hynde.
Following the drug-related deaths of Honeyman-Scott and Farndon, the band experienced numerous subsequent personnel changes. Hynde has been the band’s only consistent member.
Written by Ray Davies and recorded for The Kinks’ 1964 self-titled debut album, this was later covered by The Pretenders as their first single. The Pretenders’ recording of the song led to the relationship between Davies and the band’s frontwoman Chrissie Hynde.
In order to convince guitarist James Honeyman-Scott to join The Pretenders, Chrissie Hynde hired one of his favorite recording artists, Nick Lowe, to produce this song.
This song peaked at #65 in the Billboard 100 and #34 in the UK in 1980.
From Songfacts
In his autobiography, Ray Davies writes of a girlfriend who may have been the subject of this song: “Her sobbing was making me feel guilty and I told her to stop… there was something so desperately lonely about her.”
The Pretenders covered another Ray Davies penned track a couple of years later, “I Go To Sleep,” for another single release.
Stop Your Sobbing
It is time for you to stop all of your sobbing Yes it’s time for you to stop all of your sobbing oh oh oh There’s one thing you gotta do To make me still want you Gotta stop sobbing now Yeah yeah stop it stop it
It is time for you to laugh instead of crying Yes it’s time for you to laugh so keep on trying oh oh oh There’s one thing you gotta do To make me still want you Gotta stop sobbing now Yeah yeah stop it stop it
Each little tear that falls from your eyes Makes, makes me want To take you in my arms and tell you To stop all your sobbing
There’s one thing you gotta do To make me still want you And there’s one thing you gotta know To make me want you so Gotta stop sobbing now Yeah yeah stop, stop, stop, stop Gotta stop sobbing at all Stop, stop, stop, stop Gotta stop sobbing at all Stop, stop, stop, stop Gotta stop sobbing at all Stop, stop, stop, stop Stop, stop, stop sobbing Stop, stop, stop, stop Gotta stop sobbing Stop, stop, stop, stop Gotta stop sobbing at all Stop, stop, stop, stop Gotta stop sobbing at all
I had a lot of comedy albums growing up and these were my favorites.
10: Steve Martin – His Wild and Crazy album, Let’s Get Small, and Comedy is Not Pretty stayed on my turntable forever.
9: Sam Kinison – His routine of Are You Lonesome Tonight is worthy enough to have him on this list.
8: Chris Rock – I followed him from SNL on.
7: Eddie Murphy – His eighties standup videos are still staples of the era.
6: Bob Newhart – If you like dry humor…this is your man.
5: George Carlin – Carlin was just so cool. His routines are well known now. He was topical and many of the things he expressed are true today. He was also on the first SNL episode.
4: Woody Allen – He had a wit as quick as you could get. His stand up from the sixties is outstanding. I had a friend with a lot of his standup routines that we listened to in the 80s.
3: Robin Williams/Jonathan Winters – Williams and Winters were very similar because Winters was a huge influence on Robin Williams. They could pick any subject and make it funny.
2: Bill Hicks –NOT family-friendly. Bill was as dark as they come but he made you think whether you agreed with him or not. He will offend EVERYONE… I like Denis Leary but Leary got a lot of his material from Hicks and cleaned it up. It can get uncomfortable listening to Bill…maybe that is the reason I liked him.
1: Richard Pryor – Richard was a game-changer…I had his albums growing up and he changed stand up comedy. He can make me laugh at any time.
Honorable Mention: Albert Brooks, Lily Tomlin, Rodney Dangerfield, Robert Klein, Joan Rivers, and Denis Leary.
***One comedian, I never understood…maybe it’s because I didn’t grow up in his time. He had an interesting story but I just never got Lenny Bruce. I find his material once in a while funny but many lists have him as number 1 or 2. Yes, he did make a huge impact on his profession like few others but I just don’t get him like some do.
I always thought of this song as the sister song to Who Are You. You Better You Bet was on Face Dances. This was the first album without Keith Moon and with Kenney Jones on drums.
Pete Townshend has said he wrote it “over several weeks of clubbing and partying” while the still-married guitarist was dating a younger woman. He said: “I wanted it to be a great song because the girl I wrote it for is one of the best people on the planet.”
The song peaked at #18 in the Billboard 100 in 1981. This was the first new Who album I ever bought. Face Dances wasn’t a bad album although they did indeed miss Keith Moon.
Roger Daltrey who was never a big proponent of Jones said: “A wonderful, wonderful song. The way the vocal bounces, it always reminds me of Elvis. But it was a difficult time, yeah. The Moon carry-on was much harder than carrying on after John, because we’re more mature now. I hate going over this but, in retrospect, we did make the wrong choice of drummers. Kenney Jones – don’t get me wrong, a fantastic drummer – but he completely threw the chemistry of the band. It just didn’t work; the spark plug was missing from the engine.”
“The first tour Kenney did with us, though, he was absolutely f–king brilliant,” Daltrey added. “But after that he settled into what he knew, which was his Faces-type drumming, which doesn’t work with The Who. In some ways I’d like to go back and re-record a lot of the songs on Face Dances, but ‘You Better, You Bet’ is still one of my favorite songs of all.”
From Songfacts
This is a love song written from the perspective of a guy who drinks and smokes too much. He and his girl have a clever rapport: when he tells her he loves her, she says, “You better.”
This was the first Who single recorded with drummer Kenney Jones, who had replaced Keith Moon after his death three years earlier.
The black-and-white music video features the band and keyboardist John Bundrick playing the song onstage. It was the fourth clip played upon MTV’s launch on August 1,1981 and was also the 54th visual to be aired on the fledgling music channel, making it the first video to be shown on MTV more than once.
The lyric, “I drunk my self blind to the sound of old T-Rex,” refers to the ’60s/’70s British glam rock band T-Rex, fronted by Marc Bolan. >>
The lead single from The Who’s Face Dances album, this was the last single by the band that reached the Top 20 on the Billboard Hot 100 and the Top 10 in the UK.
The keyboard line came from a Yamaha E70 organ Pete Townshend played using the Auto Arpeggio setting. He used the same setup to create the keyboard riff in “Eminence Front.”
You Better You Bet
You better you better you bet, ooh You better you better you bet, ooh You better you better you bet, ooh You better you better you bet, ooh
I call you on the telephone my voice too rough with cigarettes I sometimes feel I should just go home But I’m dealing with a memory that never forgets I love to hear you say my name especially when you say yes I got your body right now on my mind and I drunk myself blind To the sound of old T-Rex To the sound of old T-Rex, who’s next?
When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) You better bet your life Or love will cut you like a knife
I want those feeble minded axes overthrown I’m not into your passport picture I just like your nose You welcome me with open arms and open legs I know only fools have needs but this one never begs
I don’t really mind how much you love me A little is really alright When you say come over and spend the night Tonight, tonight
When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) You better bet your life Or love will cut you like a knife
I lay on the bed with you We could make some book of records Your dog keeps licking my nose And chewing up all those letters Saying you better You better bet your life
You better love me, all the time now You better shove me back into line now You better love me, all the time now You better shove me back into line now
I showed up late one night with a neon light for a visa But knowing I’m so eager to fight can’t make letting me in any easier I know that I’ve been wearing crazy clothes and I look pretty crappy Sometime But my body feels so good and I still sing a razor line everytime
And when it comes to all night living I know what I’m giving I’ve got it all down to a tee And it’s free
When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet) When I say I love you say you better (You better you better you bet) When I say I need you say you better (You better you better you bet)
You better bet your life Or love will cut you just like a knife
When I heard this song it sounded so different than other songs at the time. It’s a well-written song lyrically and musically that has a folk feel to it. It could have been a hit in any era… the lyrics got my attention. While they’re standing in the welfare lines / crying at the doorsteps of those armies of salvation / wasting time in the unemployment lines / sitting around waiting for a promotion
The song remains one of my favorites from that era.
A still unknown Tracy Chapman was booked to appear down the bill at the Nelson Mandela birthday concert at Wembley Stadium on June 11, 1987. She had no reason to think her appearance would be the catalyst for a career breakthrough. After performing several songs from her self titled debut during the afternoon, Chapman thought she’d done her bit and could relax and enjoy the rest of the concert.
That would not be the case… later in the evening, Stevie Wonder was delayed when the computer discs for his performance went missing, and Chapman was ushered back onto the stage again. In front of a huge prime time audience, she performed “Fast Car” alone with her acoustic guitar. Afterward, the song raced up the charts on both sides of the Atlantic.
The song peaked at #6 in the Billboard 100, #1 in Canada, #6 in the UK, and #21 in New Zealand in 1988.
From Songfacts
Chapman (from Q magazine): “It’s not really about a car at all… basically it’s about a relationship that doesn’t work out because it’s starting from the wrong place.”
This won the Grammy Award in 1989 for Best Female Pop Vocal Performance.
This song returned to the UK singles chart in April 2011 after it was performed by contestant Michael Collings on the first edition of the fifth series of Britain’s Got Talent.
Two popular dance music cover versions were released near the end of 2015.
The producer Jonas Blue was just 21 when he released his version; he wasn’t alive when the original was released, but it was one of his mother’s favorite songs, so he heard it a lot growing up in England. He struggled to find a vocalist to bring the song to life, but he hit the mark when he tried a young singer named Dakota, whom he spotted performing in a pub. She ended up being the vocalist on the track. This version went to #1 in Australia and was a hit across Europe, reaching #2 in the UK. In America, it went to #1 on the Dance chart.
Around this same time, the Swedish remix man Tobtok (Tobias Karlsson) released his version with another mononymed vocalist, River. This version, which was accompanied by a video, was a modest hit in Australia, reaching #19.
Fast Car
You got a fast car I want a ticket to anywhere Maybe we make a deal Maybe together we can get somewhere Anyplace is better Starting from zero got nothing to lose Maybe we’ll make something Me, myself I got nothing to prove
You got a fast car I got a plan to get us out of here I been working at the convenience store Managed to save just a little bit of money Won’t have to drive too far Just ‘cross the border and into the city You and I can both get jobs And finally see what it means to be living
You see my old man’s got a problem He live with the bottle that’s the way it is He says his body’s too old for working His body’s too young to look like his My mama went off and left him She wanted more from life than he could give I said somebody’s got to take care of him So I quit school and that’s what I did
You got a fast car Is it fast enough so we can fly away We gotta make a decision Leave tonight or live and die this way
So remember we were driving, driving in your car Speed so fast I felt like I was drunk City lights lay out before us And your arm felt nice wrapped ’round my shoulder I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone
You got a fast car We go cruising to entertain ourselves You still ain’t got a job I work in a market as a checkout girl I know things will get better You’ll find work and I’ll get promoted We’ll move out of the shelter Buy a bigger house and live in the suburbs
I remember we were driving, driving in your car Speed so fast I felt like I was drunk City lights lay out before us And your arm felt nice wrapped ’round my shoulder I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone
You got a fast car I got a job that pays all our bills You stay out drinking late at the bar See more of your friends than you do of your kids I’d always hoped for better Thought maybe together you and me would find it I got no plans I ain’t going nowhere So take your fast car and keep on driving
I remember we were driving, driving in your car Speed so fast I felt like I was drunk City lights lay out before us And your arm felt nice wrapped ’round my shoulder I had a feeling that I belonged I had a feeling I could be someone, be someone, be someone
You got a fast car But is it fast enough so you can fly away You gotta make a decision Leave tonight or live and die this way
One of the first songs I noticed by Zeppelin when they were still a functioning band. As always in Zeppelin songs, Bonham really shines and he drives the song. BTW the B side to this song was Hot Dog. A fun rockabilly song with a hoe down guitar riff…that is the only way I know how to describe it.
Dave posted the Genesis’s song Misunderstanding the other day and I commented that I thought these two songs are sort of similar. The subject is very close (a guy waiting for the girl and both in the rain) and they do sound related…not exact copies at all but similar. Led Zeppelin’s song was recorded before and released before the Genesis song….I’m definitely not saying anything idea was ripped off… just a happy coincidence…anyway sorry about the detour.
This was on their last studio album (not counting Coda) In Through The Out Door. Fool In The Rain peaked at #21 in the Billboard 100, #12 in Canada, and #44 in New Zealand Top 50 Singles Chart in 1980.
This was the last Led Zeppelin song to chart in the US. The group didn’t release many singles, but they pegged this one for popular appeal. Zeppelin retired with six Top 40 hits in America.
From Songfacts
This song is about a guy who is supposed to meet a woman on a certain corner. When the woman doesn’t show up, he thinks he’s been stood up. It turns out he was just standing on the WRONG corner and is now a “fool in the rain.”
This song was never performed live because the group didn’t think the sound came off well. The piano was quite necessary in the song, but with John Paul Jones on piano there could be no bass, and the bass is very important in this one. There is also a twelve-string line at one point in the song and the guitar solo that has to be pulled off. The middle section was another issue.
Jimmy Page used regular distortion on this song, as well as an obscure effect called a called a blue box, which is a fuzz/octave pedal. This fuzzes (or distorts) the guitar, then drops it down two whole octaves. James Taylor’s bassist has used this effect.
Mexican rockers Mana recorded this for the Spanish language market edition of the tribute album Encomium.
Here are the two songs.
Fool In The Rain
Oh, baby Well there’s a light in your eye that keeps shining Like a star that can’t wait for night I hate to think I been blinded baby Why can’t I see you tonight? And the warmth of your smile starts a burning And the thrill of your touch give me fright And I’m shaking so much, really yearning Why don’t you show up and make it alright, yeah? It’s alright right
And if you promised you’d love so completely And you said you would always be true You swore that you never would leave me baby Whatever happened to you? And you thought it was only in movies As you wish all your dreams would come true, hey It ain’t the first time believe me baby I’m standing here feeling blue, blue ha! Yes I’m blue Oh, babe
Now I will stand in the rain on the corner I watch the people go shuffling downtown Another ten minutes no longer And then I’m turning around, ’round And the clock on the wall’s moving slower Oh, my heart it sinks to the ground And the storm that I thought would blow over Clouds the light of the love that I found, found
Light of the love that I found Light of the love that I found Oh, that I found
Hey, babe, ooh
Hand that ticks on the clock Just don’t seem to stop When I’m thinking it over Oh, tired of the light I just don’t seem to find Have you wait, yeah played Whoa, I see it in my dreams But I just don’t seem to be with you, you I gotta get it all, gotta get it all, gotta get it all I’ve got to get all
Ooh now my body is starting to quiver And the palms of my hands getting wet, oh I got no reason to doubt you baby It’s all a terrible mess And I’ll run in the rain till I’m breathless When I’m breathless I’ll run ’til I drop, hey! And the thoughts of a fool’s kind of careless I’m just a fool waiting on the wrong block, oh yeah
Hey, now, oh, oh, oh Light of the love that I found Light of the love that I found Light of the love that I Light of the love that I found Light of the hey, now light of the hey, now Light of the love that I found Light of the love that I found
I remember this song from the late 80s. The best I can remember it was on an alternative radio station. It’s a nice piece of jangly power pop that stuck with me for a while.
They are best known for this song…Crash and it was released in 1988. The song peaked at #5 in the Uk charts and #3 in the U.S. Billboard Modern Rock Tracks. They were not a one-hit-wonder though. They charted 5 top twenty songs in the U.S. Billboard Modern Rock Tracks…and charted 7 songs in the UK in their career but none as big as this one.
I f you like jangly power-pop like me…go check some of their vintage and new music out.
The Primitives formed during 1984 and created catchy and jangly songs that seemed to be influenced by 1960s pop and psychedelia. They were initially called an indie group and released their songs on their own label which was called Lazy.
The band then went on to sign with RCA records. While at RCA they released more original material but also re-recorded some of their earlier Lazy label songs.
They broke up in 1992 but reformed in 2009 and have been releasing albums and singles since then.
In 1994, the song was featured on the Dumb & Dumber movie soundtrack as “Crash (The ’95 Mix)”. This remix included additional guitars, percussion, organ, and backing vocals – none of which were performed by any of The Primitives.
Crash
Here you go, way too fast Don’t slow down, you’re gonna crash You should watch, watch your step Don’t look out, gonna break your neck
So shut, shut your mouth Cause I’m not listening anyhow I’ve had enough, enough of you Enough to last a lifetime through
So what do you want of me Got no words of sympathy And if I go around with you You know that I get messed up, too With you
Na na na na na na na na na Na na na na na na na na na
Here you go, way too fast Don’t slow down, you’re gonna crash You don’t know what’s been going down You’ve been running all over town
So shut, shut your mouth Cause I’m not listening anyhow I’ve had enough, enough of you Enough to last a lifetime through [Lyrics from: https:/lyrics.az/the-primitives/lovely/crash.html]
So what do you want of me Got no cure for misery And if I go around with you You know that I get messed up, too With you With you With you
Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash)
Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash) Na na na na na na na na na (Slow down, you’re gonna crash)
This song is really positive and positive is a good thing right now.
Ray Davies wrote this song in 1979 during the Low Budget sessions. It was written about Ray’s failing marriage to Yvonne Gunner…his second marriage. The band tried to record it for their album Low Budget that year, but couldn’t make it work.
It ended up on the Album “Give The People What They Want.” That was the first new Kinks album I ever bought. It’s a good album…some punk influence along with what the Kinks do best.
This song peaked at #92 in 1982 in the Billboard 100. The album peaked at #15 in the Billboard Album Charts in 1981.
From Songfacts
“Better Things,” written by Kinks’ frontman Ray Davies, was a single released in August of 1981 in the US, but not until January of 1982 in the UK. It is a cheerful, uplifting song, and so it fulfills what seemed to be a rule with The Kinks’ later albums, to end each album on a positive note: See also “Get Up” from Misfits, and “Life Goes On” from Sleepwalker.
The single’s initial copies came with a lagniappe 7-inch vinyl containing live versions of “Lola” and “David Watts,” which had been recorded on American tours in 1979 and 1980.
Artists who have covered this song include Bouncing Souls, Dar Williams, and Fountains of Wayne, the last of which was for a tribute album The Modern Genius of Ray Davies, arranged by the British music magazine Mojo.
The last track on Give The People What They Want, this song changes the tone of the album, which to this point is very unsettling and cynical (the penultimate song is “A Little Bit of Abuse”). “It’s just a change, a musical trick,” Ray Davies told Creem. “But I really like the song, ‘Better Things.’ It gives me hope. And after a song like ‘A Little Bit Of Abuse,’ you need some hope.”
Better Things
Here’s wishing you the bluest sky And hoping something better comes tomorrow Hoping all the verses rhyme And the very best of choruses, too Follow all the doubt and sadness I know that better things are on the way
Here’s hoping all the days ahead Won’t be as bitter as the ones behind you Be an optimist instead And somehow happiness will find you Forget what happened yesterday I know that better things are on the way
It’s really good to see you rocking out And having fun Living like you’ve just begun Accept your life and what it brings I hope tomorrow you’ll find better things I know tomorrow you’ll find better things
Here’s wishing you the bluest sky And hoping something better comes tomorrow Hoping all the verses rhyme And the very best of choruses, too Follow all the doubt and sadness I know that better things are on the way
I know you’ve got a lot of good things happening up ahead The past is gone, it’s all been said So here’s to what the future brings I know tomorrow you’ll find better things I know tomorrow you’ll find better things I hope tomorrow you’ll find better things I know tomorrow you’ll find better things I hope tomorrow you’ll find better things
Bruce makes it abundantly clear that he is not going to town, nor dinner, or in any way… up…nope he is going down, down, down etc… He repeats “down” over eighty times in this song…My word count counts 90 in the song. I don’t care…its a good song and as Bruce always does he sings it with conviction.
The reason I like this song is the overall sound that Bruce got on the guitar and the echo in his voice… it’s just perfect. I can hear the Sun Records influence in this one.
Born In The USA was the album I listened to endlessly in 1984-1985. You heard it everywhere you turned. A friend of mine (big Bruce fan from the old days) saw Bruce in 85 and he was depressed that Bruce was no longer a cult performer anymore. The horse was out of the barn so to speak…The public knew and knew him well. Bruce and that bandana were all over the news and any magazine you read.
Born in the USA had 7 top ten singles… I’m Going Down peaked at #9 in the Billboard 100 and #23 in Canada in 1985. The album was released on June 4, 1984… this song was at #9 over a year later on October 25, 1985. This was the 6th of the 7 singles to go to the top 10. My Hometown being the last in January of 1986…and it peaked at #6… within 5 months of two years after the release.
Lets fire up the Delorean and go back to 1985…please…
I’m Going Down
We sit in the car outside your house
I can feel the heat coming ’round
I go to put my arm around you
And you give me a look like I’m way out of bounds
Well you let out one of your bored sighs
Well lately when I look into your eyes
Down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
We get dressed up and we go out, baby, for the night
We come home early burning, burning, burning in some fire fight
I’m sick and tired of you setting me up yeah
Setting me up just to knock-a knock-a knock-a me down
Down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down, hey now
I pull you close now baby but when we kiss I can feel a doubt
I remember back when we started
My kisses used to turn you inside out
I used to drive you to work in the morning
Friday night I’d drive you all around
You used to love to drive me wild yeah
But lately girl you get your kicks from just driving me down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, down, down, down
I’m goin down, hey bopa d-d-down
Hey hey mmm bopa bopa well down
Hey babe mmm bopa bopa said down
Hey hey mmm bopa bopa well down
Hey hey mmm bopa bopa say
Hey unh say down, down, down, down, down
Hey down now, say down, down, down, down, down
It’s easy to relate to this song… most have someone who they felt got away and you still think about them and wonder if they think about you.
It has a great hook and it gets you right away. The Moody Blues have been described as a progressive rock band but I have never thought of them that way. Maybe because I don’t particularly like progressive rock bands. I’ve always thought the Moodies were a great pop/rock band who plays for the song like Story In Your Eyes, Question, and others. This song is more of a pop song than some of their early ones but a catchy one.
It was written by Justin Hayward and peaked at #9 in the Billboard 100, #1 in the Adult Contemporary Charts, and #2 in the Mainstream Rock Charts in1986.
Justin Hayward: “I found with ‘Wildest Dreams’ that it was a common experience for a lot of people,” he said. “I thought I was writing a frivolous sort of song. I thought ‘Wildest Dreams’ would be a throwaway thing that people wouldn’t really take much notice of lyrically. But I found out that it was a common experience and desire by a lot of people. So that was very revealing.”
From Songfacts
The Moody Blues were one of the first bands to use a Mellotron, which was a keyboard instrument that played sounds by triggering tape loops. Mike Pinder, a founding member of the band, was their Mellotron virtuoso. After Pinder’s departure in 1979, Justin Hayward began experimenting with synthesizers and became particularly fond of the Yamaha DX7, which is apparent on this track.
Tony Visconti, famous for his work with David Bowie, produced The Other Side Of Life album and encouraged the band to use some unusual instruments. “Most of ‘Wildest Dreams’ – 90% of it – is Tony Visconti, my DX7, and a guitar synth,” Justin Hayward tells us. “The piece at the beginning that sounds like a sort of Theremin, a (humming) ‘oooo ooo,’ that’s a guitar synth. All of that is. So it was just another way of exploring musical avenues. Tony Visconti was very much into that and the first person who really turned the band on to programming in a serious way. And he was very, very good at it, so I enjoyed every moment of that.”
Justin Hayward wrote the song “I Know You’re Out There Somewhere,” which appeared on the next Moody Blues album, Sur la Mer, as a sequel to this song, with the singer longing to find the girl.
For “Somewhere,” he went back to his Yamaha DX7 synthesizer and used the same keyboard and bass sounds, keeping the same tempo. This gave the songs a similar musical feel to connect them musically, and then he wrote the lyrics to continue the story.
Your Wildest Dreams
Once upon a time Once when you were mine I remember skies Reflected in your eyes I wonder where you are I wonder if you think about me Once upon a time In your wildest dreams
Once the world was new Our bodies felt the morning dew That greets the brand new day We couldn’t tear ourselves away I wonder if you care I wonder if you still remember Once upon a time In your wildest dreams
And when the music plays And when the words are touched with sorrow When the music plays I hear the sound I had to follow Once upon a time
Once beneath the stars The universe was ours Love was all we knew And all I knew was you I wonder if you know I wonder if you think about it Once upon a time In your wildest dreams
And when the music plays And when the words are touched with sorrow When the music plays And when the music plays I hear the sound I had to follow Once upon a time
Once upon a time Once when you were mine I remember skies Mirrored in your eyes I wonder where you are I wonder if you think about me Once upon a time In your wildest dreams (ah, ah, ah, ah, ah, ah) In your wildest dreams (ah, ah, ah, ah, ah, ah) In your wildest dreams (ah, ah, ah, ah, ah, ah) In your wildest dreams (ah, ah, ah, ah, ah, ah)
I always liked this song. It is defiant and cocky and in times like these, we need it.
Before recording Full Moon Fever, an arsonist burned down Tom Petty’s house while he was in it with his family and their housekeeper. They escaped and spent much of the next few months driving between hotel rooms and a rented house, but Petty was badly shaken.
It was on these drives that he came up with many of the songs for the album, and the fire was a huge influence, especially on this song. Petty felt grateful to be alive, but also traumatized – understandable he could have been killed. According to a report, an arsonist had drenched the house’s back staircase in lighter fluid. Petty and his family was deeply disturbed by the fact that someone had wanted to kill them. The case remains unsolved.
The song was on Full Moon Fever which I bought as soon as it was released. The song peaked at #12 in 1989 in the Billboard 100. Full Moon Fever peaked at #3 in the Billboard Album Charts that same year. The song was written by Petty and producer Jeff Lynne.
Tom Petty: “At the session George Harrison sang and played the guitar. I had a terrible cold that day, and George sent to the store and bought a ginger root, boiled it and had me stick my head in the pot to get the ginger steam to open up my sinuses, and then I ran in and did the take.”
I remember loving the video to this song. George Harrison and Ringo appear and guitar player Mike Campbell plays George’s guitar “Rocky” for the solo.
Songfacts
“I Won’t Back Down” was his way of reclaiming his life and getting past the torment – he said that writing and recording the song had a calming effect on him.
The arsonist was never caught, which made Petty’s plight even more challenging. As for motive, there was no direct connection made, but 11 days earlier, Petty won a lawsuit against the B.F. Goodrich tire company for $1 million. Goodrich wanted to use Petty’s song “Mary’s New Car” in a TV commercial, and when he wouldn’t let them, their advertising agency commissioned a copycat song that the judge felt was too similar.
This was the first single from Full Moon Fever, which was produced and co-written by Jeff Lynne. Petty and Lynne worked on the album at Mike Campbell’s house. As guitarist for the Heartbreakers, Mike has written and produced many songs with Petty.
He told us what happened when they brought the album to MCA Records: “We thought it was really good, we were real excited about it. We played it for the record company and they said, ‘Well, we don’t hear any hits on here.’ We were very despondent about the whole thing and we went back and recorded another track, a Byrds song called ‘I’ll Feel A Whole Lot Better,’ thinking at the time that maybe they’ll like this one. In the interim, they changed A&R departments and a whole new group of people were in there. We brought the same record back like six months later and they loved it – they said ‘Oh, there’s three hits on here.’ We were vindicated on that one. It was the same record. We played the same thing for them and they went for it. I guess it’s a situation of timing and the right people that wanted to get inspired about it. At the end of the line, if the songs are good and if the public connects with certain songs, that really is the true test, but you’ve got to get it out there.” (Read more in our interview with Mike Campbell.)
This was Petty’s first single without the Heartbreakers credited as his backing band. Members of the band did play on the album.
The video, directed by David Leland, features Ringo Starr on drums, with George Harrison and Jeff Lynne on guitar. Harrison did play on the track and contributed backing vocals, but Ringo had nothing to do with the song itself – a session musician named Phil Jones played drums on the Full Moon Fever album.
In some shots, Mike Campbell is playing George Harrison’s Stratocaster guitar, which he called “Rocky.” It was Harrison’s suggestion for Campbell to play it.
Around this time, Petty was active in the group The Traveling Wilburys with Lynne, Harrison, Bob Dylan and Roy Orbison.
This is perhaps Tom Petty’s most personal song. In a 2006 interview with Harp, he said, “That song frightened me when I wrote it. I didn’t embrace it at all. It’s so obvious. I thought it wasn’t that good because it was so naked. So I had a lot of second thoughts about recording that song. But everyone around me liked the song and said it was really good and it turns out everyone was right – more people connect to that song than anything I ever wrote. I’ve had so many people tell me that it helped them through this or it helped them through that. I’m still continually amazed about the power a little 3-minute song has.”
Many fans have felt a connection with this song. “The one that most strangers come up and tell me about is ‘I Won’t Back Down,'” Petty told Mojo. “So many people tell me it meant something in their lives.”
Petty played this on September 21, 2001 as part of a telethon to benefit the victims of the terrorist attacks on America. Celebrities at the event included Julia Roberts, Tom Hanks, Bruce Springsteen, and Tom Cruise. Almost 60 million people watched the special in the US.
In response to this being used as a patriotic anthem after September 11th, Petty said: “The song has also been adopted by nice people for good things, too. I just write them, I can’t control where it ends up.”
This was one of four songs Tom Petty and the Heartbreakers played at the halftime show of the Super Bowl in 2008. The others were “American Girl,” “Runnin’ Down A Dream” and “Free Fallin’.”
Tom Petty died on October 2, 2017, the day after a mass shooting at the Route 91 Harvest festival in Las Vegas that killed 58. On October 7, Jason Aldean, who was on stage during the shooting, opened Saturday Night Live with a performance of this song, which served as both a tribute to Petty and a call for togetherness. “When America is at its best, our bond and our spirit is unbreakable,” he said before playing it.
When the shooting took place, Aldean was performing “When She Says Baby,” which was inspired by Petty’s “Here Comes My Girl.”
I Won’t Back Down
Well, I won’t back down No I won’t back down You can stand me up at the gates of hell But I won’t back down
No I’ll stand my ground Won’t be turned around And I’ll keep this world from draggin’ me down Gonna stand my ground
And I won’t back down (I won’t back down) Hey baby, there ain’t no easy way out (I won’t back down) Hey I will stand my ground And I won’t back down Well I know what’s right I got just one life In a world that keeps on pushin’ me around But I’ll stand my ground And I won’t back down (I won’t back down) Hey baby, there ain’t no easy way out (I won’t back down) Hey I will stand my ground (I won’t back down) Hey baby, there ain’t no easy way out (I won’t back down) Hey I won’t back down (I won’t back down) Hey, baby, there ain’t no easy way out (I won’t back down) I will stand my ground And I won’t back down No I won’t back down
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