The Traveling Wilburys – Tweeter and the Monkey Man

One of my favorite Dylan songs of the 1980s. Tweeter and the Monkey Man has a cool story and he sprinkles references to Bruce Springsteen songs all through it. The songwriting credit went to all of the Wilburys and George Harrison remembered Bob and Tom writing it and George didn’t understand a lot of it because of the American references. Jeff Lynne and George contributed to the chorus.

It’s a story of two drug dealers, Tweeter and the Monkey Man and an undercover cop chasing them…and to add more drama the undercover cop who had a sister named Jan…and she loved the Monkey Man. it also contains an excellent lyric… In Jersey anything’s legal as long as you don’t get caught.”

Tom Petty talked about the  Bruce Springsteen references, “It was not meant to mock him at all.   It started with Bob Dylan saying, ‘I want to write a song about a guy named Tweeter. And it needs somebody else.’ I said, ‘The Monkey Man.’ And he says, ‘Perfect, ‘Tweeter and the Monkey Man.” And he said, ‘Okay, I want to write the story and I want to set it in New Jersey.’ “I was like, ‘OK, New Jersey.’ And he was like, ‘Yeah, we could use references to Bruce Springsteen titles.’ He clearly meant it as praise.”

Tweeter and the Monkey Man

Tweeter and the Monkey Man were hard up for cash
They stayed up all night selling cocaine and hash
To an undercover cop who had a sister named Jan
For reasons unexplained she loved the Monkey Man

Tweeter was a boy scout before she went to Vietnam
And found out the hard way nobody gives a damn
They knew that they found freedom just across the Jersey Line
So they hopped into a stolen car took Highway 99

And the walls came down, all the way to hell
Never saw them when they’re standing
Never saw them when they fell

The undercover cop never liked the Monkey Man
Even back in childhood he wanted to see him in the can
Jan got married at fourteen to a racketeer named Bill
She made secret calls to the Monkey Man from a mansion on the hill

It was out on thunder road – Tweeter at the wheel
They crashed into paradise – they could hear them tires squeal
The undercover cop pulled up and said “Everyone of you’s a liar
If you don’t surrender now it’s gonna go down to the wire”

And the walls came down, all the way to hell
Never saw them when they’re standing
Never saw them when they fell

An ambulance rolled up, a state trooper close behind
Tweeter took his gun away and messed up his mind
The undercover cop was left tied up to a tree
Near the souvenir stand by the old abandoned factory

Next day the undercover cop was-a hot in pursuit
He was taking the whole thing personal
He didn’t care about the loot
Jan had told him many times it was you to me who taught
In Jersey anything’s legal as long as you don’t get caught

And the walls came down, all the way to hell
Never saw them when they’re standing
Never saw them when they fell

Someplace by Rahway prison they ran out of gas
The undercover cop had cornered them said “Boy, you didn’t think that this could last”
Jan jumped out of bed said “There’s someplace I gotta go”
She took a gun out of the drawer and said “It’s best if you don’t know”

The undercover cop was found face down in a field
The monkey man was on the river bridge using Tweeter as a shield
Jan said to the Monkey Man “I’m not fooled by Tweeter’s curl
I knew him long before he ever became a Jersey girl”

And the walls came down, all the way to hell
Never saw them when they’re standing
Never saw them when they fell

Now the town of Jersey City is quieting down again
I’m sitting in a gambling club called the Lion’s Den
The TV set was blown up, every bit of it is gone
Ever since the nightly news show that the Monkey Man was on

I guess I’ll go to Florida and get myself some sun
There ain’t no more opportunity here, everything’s been done
Sometime I think of Tweeter, sometimes I think of Jan
Sometimes I don’t think about nothing but the Monkey Man

And the walls came down, all the way to hell
Never saw them when they’re standing
Never saw them when they fell

[repeat chorus]

Yahtzee History

Saturday night we had some guests over and we all played Yahtzee. It was the first time I’d played it since the 1980s at least. I had a good time and looked up the history of the game.

In 1954 a wealthy anonymous Canadian couple, who called it The Yacht Game invented the game to play aboard their yacht. They would invite friends and teach them. In 1956 they went to toy maker Edwin S. Lowe to make some games for their friends as Christmas gifts. Edwin liked the game so much that he wanted to buy the rights to it. The couple sold the rights for the amount of making them a 1000 games.

When Edwin released it on the market it did not do well in it’s first year. The game could not be explained easily in an ad.  It had many nuances and interesting things about it and they can only be understood if the game was actually played.

Finally, Edwin tried a different approach. He started to have Yahtzee parties hoping to spread the news about the game by word of mouth. That started to work and Yahtzee got extremely popular. During Lowe’s ownership alone, over forty million copies of the game were sold in the United States of America as well as around the globe

In 1973  Milton Bradley Company bought the E.S. Lowe Company and in 1984 Hasbro, Inc. acquires the Milton Bradley Company and the game.

The origins of the game came from the  Puerto Rican game Generala and the English games of Poker Dice and Cheerio. Another game, Yap, shows close similarities to Yahtzee.

 

http://www.twoop.com/yahtzee/

 

This is Spinal Tap

I remember seeing this movie with some buddies in the 1980s and we all loved it. A great mockumentary of the fictional rock group Spinal Tap and their dying drummers. There are many quotable lines in this movie and they have stayed with me since I saw it the first time. I’ve met some people who didn’t get this movie at all and some who loved it.

The movie starred Michael McKeon as singer/guitarist David Saint Hubbins, Christopher Guest as guitarist Nigel Tufnel (reminded me of Jeff Beck), Harry Shearer as bassist Derek Smalls, Tony Hendra as manager Ian Faith, David Kaff as keyboard player Vic Savage and R.J. Parnell as drummer Mick Shrimpton…also Rob Reiner as the Marty DiBergi the filmmaker.

Harry Shearer, Michael McKean, and Christopher Guest actually wrote, played, and sang the music.

The movie was released in 1984 and started slow but built a cult following. At first, some people thought it was about a real band and they would ask Reiner why he would do a documentary on a band no one had heard of.

Christopher Guest said he was inspired at an LA hotel in 1974 when a British band came in and the manager of the band asked the bass player if he left his bass at the airport. The bass player replied I don’t know if I left it…did I leave it? Do you get my bass at the airport? Guest said this went on for 20 minutes back and forth and it stuck with him.

They did have a basic story but the movie was ad-libbed with no script. They had over 100 hours of film and had to edit it down. They have regrouped many times and played live concerts as Spinal Tap.

This Is Spinal Tap was selected for preservation by the National Film Registry because it is a film that is considered “culturally, historically, or aesthetically significant” by the Library of Congress.

My favorite bits? Stonehenge, Nigel’s “Mach” piece, these go to 11, Nigel’s bread, you can’t dust vomit… there are too many to name them all. check the videos out at the bottom.

 

Some of it hits home according to some rock stars.

Quotes about the movie

The Edge – “It’s so hard to keep things fresh, and not to become a parody of yourself,”. “And if you’ve ever seen that movie Spinal Tap, you will know how easy it is to parody what we all do. The first time I ever saw it, I didn’t laugh. I wept. I wept because I recognized so much and so many of those scenes.”

Ozzy Osbourne reportedly thought it was a real documentary. ” “They seemed quite tame compared to what we got up to”

Joe Perry from Aerosmith –  “It was great, every bit as brilliant as it was supposed to be, so good. Even then, we had been through it all six times. I told Steven the next day, ‘You’ve got to see this movie! It’s so good. It’s hilarious.’”

Steven Tyler from Aerosmith – “That movie bummed me out, because I thought, ‘How dare they? That’s all real, and they’re mocking it’

Pete Townsend –  “Keith Moon “was ‘Spinal Tap incarnate.”

Stonehenge

 

These go to 11

 

Nigel’s Bread

 

Can’t dust vomit

 

Trailer

 

 

 

Moody Blues – The Voice

I remember in Jr High school in 1981 I bought Long Distant Voyager by the Moody Blues. The album received heavy play and peaked at #1 in the Billboard album charts. The album had two top twenty hits with The Voice and Gemini Dream. The Voice peaked at #15 in the Billboard 100.

With no clear title in the lyrics, Justin Hayward had no idea what to name this song. When the group’s engineer, Greg Jackman, asked him what to call it, Hayward replied, “I’ll think of that after.”

Jackman thought he said, “Fat Arthur,” and wrote that on the tape. That was the song’s name right up to the mastering process when Jackman pushed for a more sensible title before they turned it over to the label. Hayward went through the lyrics and picked out “The Voice,” which is what stuck.

Mike Pinder left after the previous album Octave and was replaced by Patrick Moraz.

From Songfacts

This was one of the songs that propelled The Moody Blues to a comeback in the early 1980s, and of their newer songs, it appealed the most strongly to fans of their original work. Written by Justin Hayward, the lyrics have the same philosophical tone of their songs in the late 1960s, and the song is alternately urgent and hopeful about the future. It seems to be telling listeners that they face major choices on how their world will turn out, and that there is great hope in it, but only if they make it happen of their own initiative. 

After the Moody Blues came to San Francisco and played their psychedelia-tinged songs in 1967, they’ve been perceived in some circles as a Flower Power band. They are certainly very introspective, but their music changed with the times, thanks in part to a shift in songwriting for Justin Hayward. By the ’80s, he no longer needed to be in just the right mood to write a song (like he was on one Tuesday Afternoon), but could compose in his music room on a regular schedule. Hayward cites this discipline for the band’s continued success in the ’80s.

Hayward did something different on this track, recording two guitars to a click track and then bringing that tape to the band to give them the tempo and feel of the song. This is the method he used on many songs throughout the decade.

The Voice

Won’t you take me back to school?
I need to learn the golden rule.
Won’t you lay it on the line?
I need to hear it just one more time.

Oh, won’t you tell me again?
Oh, can you feel it?
Oh, won’t you tell me again tonight?

Each and every heart it seems,
Is bounded by a world of dreams.
Each and every rising sun,
Is greeted by a lonely one.

Oh, won’t you tell me again?
Oh, can you feel it?
Oh, won’t you tell me again tonight?

Cause out on the ocean of life my love.
There a so many storms we must rise above.
Can you hear the spirit calling, as it’s carried across the waves?
You’re already falling it’s calling you back to face the music.
And the song that is coming through.
You’re already falling the one that it’s calling is you.

My a promise take a vow.
And trust your feelings it easy now.
Understand The Voice within.
And feel a change already beginning.

Oh, won’t you tell me again?
Oh, can you feel it?
Oh, won’t you tell me again tonight? Tonight?

Oh, won’t you tell me again?
Oh, can you feel it?
Oh, won’t you tell me again tonight?

And how many words have I got to say?
And how many times will it be this way?
With your arms around the future and your back up against the past.
You’re already falling it’s calling you on to face the music.
And the song that is coming through.
You’re already falling the one that it’s calling is you.

Each and every heart it seems,
Is bounded by a world of dreams.
Each and every rising sun,
Is greeted by, a lonely, lonely one.

Won’t you tell me again?
Oh, can you feel it?
Oh, won’t you tell me again tonight?

20 Songs Classic Radio Has Worn Out

Everyone’s list will be different but classic rock radio has just overplayed these songs. It does not mean I don’t/didn’t like the song to begin with…some I didn’t…some I did… There are more than this but I kept it at 20. No need for me to post youtube links…just turn on a classic rock station and they will come to you.

I’ve tried to keep it one per band or artist. The order of these is not really important…you could pull them out of a hat and be just as well. Sometimes the artists have other hits that you don’t hardly hear but no… they stick to the old reliables.

Radio has ruined these for me. Yes, I’m older and have heard them more than some other people but my 18-year-old son suggested a few of them.

  1. Taking Care of Business – Bachman Turner Overdrive – I liked this song at one time…Now I would pull a hamstring getting up to turn it off.
  2. Hotel California – Eagles  – I still like the solos at the end with Joe Walsh and Don Felder but the rest I can do without.
  3. More Than A Feeling – Boston  – At one time it was refreshing and different. Radio has worked this song like the town pump.
  4. In The Air Tonight – Phil Collins (just one of many) His songs saturated the market so much in the 80s that is was enough for 3 lifetimes
  5. Jukebox Hero – Foreigner – I know huge Foreigner fans but I’m not one of them. This one I know more than I should.
  6. Feel Like Making Love – Bad Company – Not a well-written song to begin with…it doesn’t get better with more spins. They have good songs…Painted Face, Crazy Circles but they don’t get played as much.
  7. Don’t Stop Believing – Journey – Yes it’s catchy and an eighties theme…it fit at the end of the Sopranos…but I can do without it.
  8. Start Me Up – Rolling Stones – Oh how I loved this song when it was released. I liked it a decade later…until Microsoft used it and since then you would think it was the Stones only song.
  9. Tom Sawyer – Rush – See number 5
  10. The Joker – Steve Miller – Hanspostcard says it all.
  11. Money – Pink Floyd – Great band and they have so many others they could play.
  12. Roundabout Yes – When I hear the octave on the guitar I spin the dial like a top to another station.
  13. Sweet Home AlabamaLynyrd Skynyrd – In the south where I live this song is required listening…. over and over and over…They have better songs…
  14. Sharp Dressed Man – ZZ Top – I loved the video, the car, and the girls in the video but the song no more. How about the older ZZ Top?
  15. Bad to the Bone – George Thorogood & the Destroyers – In high school alone I heard it enough.
  16. Old Time Rock and Roll – Bob Seger – The first 5 times I heard it…I liked it…but after the 1, 855th time…no more.
  17. Stairway to Heaven – Led Zeppelin – It’s been played backward, forward and sideways…and the hidden message is the same…a worn out masterpiece.
  18. Barracuda Heart – This and Magic Man are like the bookends of worn out songs.
  19. Black Water – Dobbie Brothers – I’ve never bought a record by them and they had great musicians in that band…but this is nauseatingly overplayed
  20. You Give Love a Bad Name – Bon Jovi – Not for me the first time or the many times after…in cars, shopping centers, and grocery stores.

To be fair…there are songs that are worn out but yet I still listen to… Who Are You, Baba O’Riley, Hey Jude, Lola, Paint It Black, Brown Eyed Girl…

 

Jackson Browne – Somebody’s Baby

I remember hearing this song on Fast Times at Ridgemont High. A good pop song by Jackson in 1982 and it peaked at #7 in the Billboard 100 and #16 in Canada in 1982. It was written by Jackson Browne and Danny Kortchmar.

This was his highest ever charting song.

Jackson Browne recorded the song for the film because he was friends with its writer, Cameron Crowe. The song’s co-writer Danny Kortchmar was also friends with Crowe, and was working on the song “Love Rules” for the film with Don Henley when he came up with the framework for “Somebody’s Baby.” Kortchmar convinced Browne to finish writing the song and record it for the movie.

Browne has called this an “unabashed pop song.” Most musicians would want their most popular songs on their albums, but Browne was OK having it on the Fast Times at Ridgemont High soundtrack, despite the advice of his former label boss David Geffen, who told him he was nuts for giving it up.

From Songfacts

This song is about a guy who is infatuated with a girl, and convinces himself that she must have a boyfriend. As he tries to work up the courage to talk to her, he keeps losing confidence by reminding himself that she’s too fine not to be taken.

This was part of a memorable scene in the movie Fast Times at Ridgemont High, where it was used to express the feelings of a frustrated teenager. The movie was a huge hit and helped drive the chart success of the song. “Somebody’s Baby” was the only hit from the soundtrack, although “Moving In Stereo” by The Cars was used in a famous scene and also became associated with the film.

Jackson Browne wrote this song with Danny Kortchmar, who played guitar on his Running On Empty and Lives In The Balance albums. Kortchmar had the music and the “must be somebody’s baby” hook. He knew Browne could do something special with the song, so he brought what he had to Jackson, who helped Kortchmar complete it. That’s what I brought to him: all the guitar parts and everything else. In our 2013 interview, Kortchmar explained:

“It was not typical of what Jackson writes at all, that song. But because it was for this movie he changed his general approach and came up with this fantastic song. It’s a brilliant lyric. I think it’s absolutely wonderful. But it’s atypical of him – he wasn’t sure what to make of it himself. He didn’t want to put it on his album that he was making because it was atypical of what he did, but it ended up being something that got requested a lot and he ended up playing it live and taking it to his heart, as it were. And now he plays it all the time.”

Somebody’s Baby

Well, just, a look at that girl with the lights comin’ up in her eyes.
She’s got to be somebody’s baby.
She must be somebody’s baby.
All the guys on the corner stand back and let her walk on by.

She’s got to be somebody’s baby.
She must be somebody’s baby.
She’s got to be somebody’s baby.
She’s so fine.

She’s probably somebody’s only light.
Gonna shine tonight.
Yeah, she’s probably somebody’s baby, all right.

I heard her talkin’ with her friend when she thought nobody else was around.
She said she’s got to be somebody’s baby; she must be somebody’s baby.
Cause when the cars and the signs and the street lights light up the town,

She’s got to be somebody’s baby;
She must be somebody’s baby;
She’s got to be somebody’s baby.
She’s so

She’s gonna be somebody’s only light.
Gonna shine tonight.
Yeah, she’s gonna be somebody’s baby tonight.

I try to shut my eyes, but I can’t get her outta my sight.
I know I’m gonna know her, but I gotta get over my fright.
We’ll, I’m just gonna walk up to her.
I’m gonna talk to her tonight.

Yeah, she’s gonna be somebody’s only light.
Gonna shine tonight.
Yeah, she’s gonna be somebody’s baby tonight.
Gonna shine tonight, make her mine tonight.

Kinks – Do It Again

Good riff and rock song by the Kinks. It starts off with a chord that is reminiscent of the “A Hard Days Night” intro.  I was in high school when it was released and it was great to hear a guitar driven song.

Ray Davies wrote this about the stressful working schedules the Kinks were going through. The song peaked at #41 in the Billboard 100 in 1983.

Do It Again

Standing in the middle of nowhere
Wondering how to begin
Lost between tomorrow and yesterday
Between now and then

And now we’re back where we started
Here we go round again
Day after day I get up and I say
I better do it again

Where are all the people going
Round and round till we reach the end
One day leading to another
Get up go out do it again

Then it’s back where you started
Here we go round again
Back where you started
Come on do it again

And you think today is going to be better
Change the world and do it again
Give it all up and start all over
You say you will but you don’t know when

Then it’s back where you started
Here we go round again
Day after day I get up and I say
Come on better do it again

The days go by and you wish you were a different guy
Different friends and a new set of clothes
You make alterations and [a fact in you knows]
A new house a new car a new job a new nose
But it’s superficial and it’s only skin deep
Cause the voices in your head keep shouting in your sleep
Get back, get back

Back where you started, here we go round again
Back where you started, come on do it again

Back where you started, here we go round again
Day after day I get up and I say, do it agaiiinnn
Do it again
Day after day I get up and I say, do it again

My Favorite Songwriters

This one was the most fun to do. These are the songwriters that I have listened to and admired the most.

 

1… Bob Dylan – There was no one else I could remotely place as number 1.

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2… Lennon – McCartney – As a team…it was quantity and quality. Their music will live long after we are gone.

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3…Chuck Berry – He wrote the blueprint for future rockers.

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4…Jagger – Richards – For blues rock it doesn’t get much better than these two.

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5…Paul Simon – One of the best craftsman of pop songs there is…

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6…Bruce Springsteen – One of the best writers of his generation.

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7…Goffin and King – Wrote some of the best known and successful songs of the sixties.

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8…Smokey Robinson – Bob Dylan said of Robinson…”America’s greatest living poet”

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9…Pete Townshend – Took the “Rock Opera” to new levels.

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10…Hank Williams – The country poet.

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Honorable Mention

Paul McCartney, John Lennon, Ray Davis, Neil Young, Townes Van Zandt, Leiber and Stoller, Elvis Costello, Randy Newman, Woody Guthrie, Merle Haggard, Robbie Robertson, Elton John and Bernie Taupin, Tom Petty, Curtis Mayfield, John Prine, George Harrison, Steve Wonder, Warren Zevon, Brian Wilson

My Favorite Singers

There are so many singers that I cannot possibly list them all. I could make a top 30 and not get them all. This is my personal favorite top 10 plus some extra.

For the most part, I like singers with soul and meaning to their singing…not vocal gymnastics.

1…Aretha Franklin – Aretha could make any song better by singing it.

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2…Van Morrison, Them and Solo  – Probably my favorite male singer.

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3…John Lennon, Beatles – John hated his voice and always wanted an effect on it…It didn’t need it…one of his best performances was “A Day In The Life”

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4…Bob Dylan – Bob changed popular singing.  I would rather hear Bob sing than many of the great traditional singers.

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5…Elvis Presley – Hey he’s Elvis…

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6…Otis Redding – Just a fantastic singer and performer and just taking off before he was killed in a plane crash.

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7…Mick Jagger, Rolling Stones – Mick makes the most out of his voice.

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8…John Fogerty…CCR – If I could have the voice of anyone…it would be Fogerty. The power that John has is incredible…his voice is its own instrument.

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9…Janis Joplin – She put everything she had in each song. Her last producer Paul A. Rothchild was teaching Janis how to hold back and sing more traditional to save her voice for old age…which never came.

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10…Johnny Cash – Last but far from least.  Only one man can sound like Cash…and that is Cash

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Honorable Mention…any of these could have easily been on the list.

Steve Marriott, Paul McCartney, Levon Helm, Bessie Smith, Little Richard, Roger Daltrey, Pete Townshend, Elton John, Neil Young, Roy Orbison, Smokey Robinson, Sam Cooke, Joe Cocker, Billie Holiday, Freddie Mercury, Kate Bush, Ella Fitzgerald, Paul Rodgers, David Bowie.

 

 

 

 

U2 – New Year’s Day

I’d heard guitar delay before but U2 took it to a new level. New Year’s Day peaked at #53 in the Billboard 100, #10 in the UK and #41 in Canada in 1983. This song was on their third album War. This is about the time I started to notice them.

from Songfacts.

The lyrics refer to the movement for solidarity lead by Lech Walesa in Poland. After this was recorded, Poland announced they would abolish martial law, coincidentally, on New Year’s Day, 1983.

This was U2’s first UK Top 10 and their first single to chart in America.

This almost didn’t make the album because Bono was having fits writing the lyrics.

The Edge played piano on this as well as guitar. In concert, he played the song on the piano with his guitar in his lap. For his guitar solo, he would get up and go to the front of the stage as the crowd cheered wildly.

This was the first U2 video to get heavy airplay on MTV, and it was by far their most ambitious video to that point. It was directed by Meiert Avis, who worked on U2’s previous videos, including “Gloria” and “I Will Follow.” They planned to shoot the video in Sweden, but when the mountains and snow they hoped for didn’t materialize, they tried Norway. They got the majestic mountains and tight shots of the band performing the song, which was more than adequate for MTV in 1983.

We also see what is supposed to be the band riding horses, which were actually four teenaged girls covered in winter clothes. The guys in U2 weren’t experienced riders, and since they were in the middle of a tour during the shoot, it wasn’t worth the risk.

The themes of understanding in a time of global unrest were a focal point for the album War, whose title was inspired by the various worldwide conflicts of 1982.

The line “Under a blood red sky” was used as the title for a video and live album U2 released in 1983. The video was recorded at Red Rocks, Colorado, June 5, 1982. The album contains performances from that show as well as two others.

Bono considers this a love song. While it is about war, it deals with “The struggle for love.”

Bono wrote this shortly after he married his childhood sweetheart, Ali.

This song was recorded at Windmill Lane Studios in Dublin, which is where U2 recorded their first three albums. The studio had a stone stairway where Larry Mullen played his drums for this track.

This is commonly played at bars every New Year’s Day for lack of something more appropriate.

This is a popular song for other artists to sample or cover. With It Guys used the piano line as a sample in the song “Let The Music Take Control,” Manchester rappers Kiss AMC sampled the intro for their song “A Bit Of U2,” the group Dynamic Base used the sample on their “Africa” single and Bacon Popper did the same on “Free.” Hyper Logic also used a sample in “Only Me.” >>

Producer Steve Lillywhite remembers mixing this song in ten minutes while Bono cranked out “40” at the last minute while another band was waiting outside of the studio for their turn.

New Year’s Day

Yeah!

All is quiet on New Year’s Day
A world in white gets underway
I want to be with you, be with you night and day
Nothing changes on New Year’s Day
On New Year’s Day

I will be with you again
I will be with you again

Under a blood red sky
A crowd has gathered, black and white
Arms entwined, the chosen few
The newspapers says, says

Say it’s true, it’s true
We can break through
Though torn in two
We can be one

I, I will begin again
I, I will begin again

Oh, maybe the time is right
Oh, maybe tonight

I will be with you again
I will be with you again

And so we are told this is the Golden Age
And gold is the reason for the wars we wage
Though I want to be with you, be with you night and day
Nothing changes on New Year’s Day
On New Year’s Day
On New Year’s Day

 

Cyndi Lauper – Money Changes Everything

The song peaked at #27 in the Billboard 100 and #30 in Canada in 1985. This song was the fifth single released off of the She’s So Unusual album. It was written by Tom Gray who released it with the Brains in 1980.

Most Cyndi Lauper fans owned the album by the time this song was released as a single, so it was issued with a different version, labeled “recorded live” as the A-side, and the album version on the B-side. The “live” version was recorded live but in a studio. Most radio stations played the album version.

From Songfacts.

A track from Cyndi Lauper’s debut album She’s So Unusual, “Money Changes Everything” was written by Tom Gray, who first recorded it with his Atlanta Rock band The Brains. The song got a great audience reaction when The Brains performed it at live shows in 1979, and when they earned some cash opening shows for The B-52s, they recorded the song and pressed 1,000 copies on their own label. Progressive FM stations in Boston, San Francisco and a few places in between started playing the song, which earned the band a record deal with Mercury Records.

But then money changed everything: Mercury cleaned house and the executives that were behind the band were replaced with folks who knew nothing about them. The song was released on The Brains 1980 self-titled debut album, but without record company support, it got little attention despite being produced by Steve Lillywhite, who would later have enormous success working with U2.

Soon after, Tom Gray got a publishing deal with ATV, which pitched “Money Changes Everything” to the producer Rick Chertoff, hoping he would record it with a teenage singer he worked with named Rachel Sweet. Chertoff declined, but a few months later he included the song on a demo reel for a new artist he was working with: a brash young singer named Cyndi Lauper. Cyndi loved the song and recorded it for her album, turning it into a hit and improving Gray’s financial fortunes considerably.

The song is about a girl who leaves her man for someone with a more robust bank account. Many songs have been written about how money can’t buy love, but this one takes the opposite tack, explaining that sometimes money trumps love.

Lauper didn’t change the gender of the song – the original version sung by a man places him in the lead role, but with Lauper singing, she is recounting a story.

Tom Gray wasn’t going for social commentary when he wrote this song; he got the idea after having a conversation with his landlady. In our interview with Gray, he explained:

“We were just sort of gossiping about this couple we knew, and she said, ‘She’s going to leave him as soon as she finds somebody with money.’ And I said, ‘Wait a minute, excuse me.’ The idea of the song just appeared in my head right there. The keyboard part was something I’d been banging on the piano for a week or so. But I wrote the chorus very quickly and then the verses followed. The song was finished within a day or two.”

A lot happened between this song’s conception and its appearance on the chart. Written in 1979 and first recorded by The Brains in 1980, Lauper put it on her She’s So Unusual album, which came out in October 1983. The first single was “Girls Just Want To Have Fun,” which peaked in March 1984. The album was a runaway hit, and three more singles were issued before “Money Changes Everything” finally got its turn, peaking at #27 in February 1985.

The song provided a welcome infusion of cash to its writer Tom Gray. It didn’t change everything, but he did go from hand-to-mouth, mowing lawns for extra funds, to buying a house and enjoying a higher status in the songwriter community, which led to a collaboration with Carlene Carter. He also became friends with Lauper, who met him when she came to Atlanta on her first tour. They wrote a song together for her next album called “The Faraway Nearby.” They collaborated again on Lauper’s song “A Part Hate,” which appeared on her 1993 album Hat Full of Stars.

Lauper released an acoustic version of this song with Adam Lazzara of Taking Back Sunday on her 2005 album The Body Acoustic. This was a moment of serendipity for the song’s writer Tom Gray, who had formed a band called Delta Moon and was working on a similar arrangement. Gray told us: “I’d always wanted to do it with a fiddle, so I played Appalachian dulcimer on it. And then after we already had it in the can, Cyndi came out with her all-acoustic CD – and what instrument did she play on it but Appalachian dulcimer! We hadn’t talked or communicated about this at all. But she came out doing it with a fiddle and an Appalachian dulcimer and I was just like, ‘Whoa.'”

Money Changes Everything

I said I’m sorry baby I’m leaving you tonight
I found someone new, he’s waitin’ in the car outside
Ah honey how could you do it
We swore each other everlasting love
I said well yeah I know but when we did;
There was one thing we weren’t
Thinking of and that’s money

Money changes everything
I said money, money changes everything
We think we know what we’re doin’
That don’t mean a thing
It’s all in the past now
Money changes everything

They shake your hand and they smile
And they buy you a drink
They say we’ll be your friends
We’ll stick with you till the end
Ah but everybody’s only
Looking out for themselves
And you say well who can you trust
I’ll tell you it’s just
Nobody else’s money

Money changes everything
I said money, money changes everything
You think you know what you’re doin’
We don’t pull the strings
It’s all in the past now
Money changes everything

Money, money changes everything
I said money, money changes everything
We think we know what we’re doing
We don’t know a thing
It’s all in the past now

Money changes everything
Money changes everything
Money changes everything, money changes everything, money changes everything, money changes

My Favorite Drummers

This is my top ten favorite drummers…I’m sure I’m going to leave some great ones out. Like guitarists, I like drummers with feel more than technique. Anyone who has read this blog knows who my number 1 is without question…

1…Keith Moon, The Who – It’s hard if not impossible to copy this man’s drumming style. He changed the Who completely and was their engine. I’m not a drummer so I really never cared like some drummers do if he played by the rules in drumming…Was he disciplined? No, but it worked well for him and for the songs. Songs like Bargain and Goin’ Mobile are great examples of Keith.

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2…John Bonham, Led Zeppelin – Without Bonham, there is no Led Zeppelin as we know them. He was the ultimate groove drummer. He was a bricklayer and had hard hands and hit the drums incredibly hard but with a light touch also.

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3…Levon Helm, The Band – Not only was he a great drummer but also a soulful singer. He brought something many drummers didn’t… a bit of the old south.

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4…Charlie Watts, Rolling Stones – Charlie and Ringo made their respective groups swing. Charlie can play blues, rock, big band, and jazz. Charlie and his rhythm section partner Bill Wyman were overlooked being in the same band with Mick and Keith. On top of his drumming skills…Charlie grounds the band much like Ringo did for the Beatles.

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5…Ringo Starr, The Beatles – He was not Moon or Bonham in flash but he played exactly what was needed…He could have gone overboard and the songs would have suffered. He played for the song. Some have called him the human metronome. I cannot imagine any other drummer for The Beatles. His tom tom work on Sgt Pepper alone is excellent.

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6…Mitch Mitchell, Jimi Hendrix Experience – Any holes left in Jimi’s music would be quickly filled in by Mitch. He was a jazz drummer who fused it into rock.

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7…Ginger Baker, Cream – If this was a list of “likable people” Ginger would not be in the top 1000 but his drumming was some of the best of the sixties and I’m sure he would say “ever”… He was as big of part of Cream’s sound as Clapton or Bruce.

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8…Bobby Elliot, Hollies – Drummer from the Hollies that other drummers have admired. He hit the drums hard and his fills were great… He is often overlooked but he is always spot on.

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9…Dave Grohl, Foo Fighters, Nirvana – He can play anything… He fuels those Nirvana songs…and is really great at whatever instrument he plays.

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10…Clem Burke, Blondie – An exciting drummer that was heavily influenced by number 1 on this list. He has played with Pete Townshend, Bob Dylan, Iggy Pop, and David Bowie.

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Honorable Mention

Gene Krupa, Buddy Miles, Mick Fleetwood, Max Weinberg, “D.J.” Fontana, Benny Benjamin, Stewart Copeland, and Hal Blaine.

Yes, I know… No Neil Peart…yes he is a great drummer…just not my style of music.

 

 

 

Paul McCartney – Coming Up

Merry Christmas to everyone…

I was 12 when this came out in 1979 and loved it…especially the video that went with it. The live version is the one that hit really big and the single had the live and studio version. The song (Live Version) peaked at #1 in the Billboard 100, #2 in the UK and #1 in Canada in 1980.

McCartney played all the instruments and shared vocal harmonies with wife Linda McCartney on the studio version.

Paul McCartney on recording Coming Up

I originally cut it on my farm in Scotland. I went into the studio each day and just started with a drum track. Then I built it up bit by bit without any idea of how the song was going to turn out. After laying down the drum track, I added guitars and bass, building up the backing track. I did a little version with just me as the nutty professor, doing everything and getting into my own world like a laboratory. The absent-minded professor is what I go like when I’m doing those; you get so into yourself it’s weird, crazy. But I liked it.

Then I thought, ‘Well, OK, what am I going to do for the voice?’ I was working with a vari-speed machine with which you can speed up your voice, or take it down a little bit. That’s how the voice sound came about. It’s been speeded up slightly and put through an echo machine I was playing around with. I got into all sorts of tricks, and I can’t remember how I did half of them, because I was just throwing them all in and anything that sounded good, I kept. And anything I didn’t like I just wiped.

On John Lennon

I heard a story from a guy who recorded with John in New York, and he said that John would sometimes get lazy. But then he’d hear a song of mine where he thought, ‘Oh, shit, Paul’s putting it in, Paul’s working!’ Apparently ‘Coming Up’ was the one song that got John recording again. I think John just thought, ‘Uh oh, I had better get working, too.’ I thought that was a nice story.

Coming Up

You want a love to last forever 
One that will never fade away 
I want to help you with your problem 
Stick around, I say 

Coming up, coming up, yeah 
Coming up like a flower 
Coming up, I say 

You want a friend you- can rely on 
One who will never fade away 
And if you’re searching for an answer 
Stick around. I say 

It’s coming up, it’s coming up 
It’s coming up like a flower 
It’s coming up. yeah 

You want some peace and understanding 
So everybody can be free 
I know that we can get together 
We can make it, stick with me 

It’s coming up, it’s coming up 
It’s coming up like a flower 
It’s coming up for you and me 

Coming up, coming up 
It’s coming up, it’s coming up, I say 
It’s coming up like a flower 
It’s coming up 
I feel it in my bones 

You want a better kind of future 
One that everyone can share 
You’re not alone, we all could use it 
Stick around we’re nearly there 

It’s coming up, it’s coming up everywhere 
It’s coming up like a flower 
It’s coming up for all to share 
It’s coming up, yeah 
It’s coming up, anyway 
It’s coming up like a flower 
Coming up

Lenny Kravitz – Let Love Rule

This sounded older when it was released in 1989 because it has a 60s psychedelic sound which some critics complained about…it’s the reason that I liked it. Lenny plays a lot of the instruments his self. The song peaked at #89 in the Billboard 100 and #39 in the UK in 1989.

A little trivia for you about Lenny…his mom was Roxie Roker from the tv show The Jeffersons.

From Songfacts.

Lenny Kravitz in a 1998 interview with Tracey Pepper: “When I did ‘Let Love Rule,’ everyone said what a naive piece of s–t it was. Journalists would ask, ‘Don’t you feel funny singing about that?’ and I was like, If I were sitting here singing about the devil and raping children, then it’d be okay? God forbid you sing about love. It’s a lost concept.”

This song is Kravitz’ credo. “Love has to be the final outcome of every situation,” he said.

This was the title track from Lenny Kravitz’ debut album on which he provided almost all of the instrumental and vocal material himself. However when it was released many critics condemned him for being an out of date throwback to late ’60s psychedelic rock.

Lenny Kravitz’s then-wife Lisa Bonet directed and appeared in the music video for this song.

The singer was persuaded by his style-star daughter Zoe Kravitz to develop a new line of shoes for Tom’s. Amongst his designs, which debuted in 2012 were footware printed with lyrics from this song.

 

Let Love Rule

Love is gentle as a rose 
And love can conquer any war 
It’s time to take a stand 
Brothers and sisters join hands 

We got to let love rule 
(Let love rule)
We got to let love rule 
(Let love rule)

Love transcends all space and time 
And love can make a little child smile 
Oh can’t you see 
This won’t go wrong 
But we got to be strong 
We can’t do it alone 

We got to let love rule 
(Let love rule)
We got to let love rule 
(Let love rule)

(Let love rule)
You got to got to got to 
(Let love rule)

You got to got to got to, yeah 
(Let love rule) let let let let love rule 
(Let love rule)

You got to, got to, got to 
Just say yeah 
You got to yeah 
You got to 
You got to, got to, got to yeah 
Let love rule

The Cult – She Sells Sanctuary

I remember this song in the 80s and I didn’t hear it again until playing…Grand Theft Auto Vice City. It’s the only game I ever got hooked on as an adult. After playing the game for hours and stealing cars…this would be on the radio of the car you were driving constantly. After I beat it…I really never played another game again. I guess I just had to get it out of my adult system.

The song kicks in nicely.

The lead singer Ian Astbury puts it bluntly on what the song is about…he says “What’s the song about? Sex. Plain and simple, it’s about sex. I’ve had sex and I’m very proud of that fact.”

The song peaked at #15 in the UK charts but didn’t chart in the Billboard 100.

From Songfacts.

Billy Duffy of The Cult talks about how his quasi-psychedelic guitar intro came about: “I found a violin bow, and I started to play the guitar with the bow like Jimmy Page. I did it to amuse Astbury, who was in the control room, and in order to make it sound weirder, I just hit every pedal I had on the pedal board. Then once I stopped banging the strings and doing all that, I played the middle section of the song, which was kind of a pick thing with all the BOSS pedals on, and that sound just leaped out. The producer went, ‘Hold it, hold it, that’s great!’ And we decided to start the song with that mystical sound. If I hadn’t found that violin bow laying around, we wouldn’t have gone there.”

“She Sells Sanctuary” was the last song to feature Nigel Preston on drums. Preston was fired from the band shortly after its release and was replaced by Big Country’s drummer, Mark Brzezicki.

In 1993, a collection of remixes of this song by Youth, Butch Vig and JG Thilwell reached #15 in the UK.

This song featured in the 1992 film, With Honors and in the 2004 film, Layer Cake.

This formed part of a mashup with Flo Rida’s “Good Feeling” in a Budweiser commercial broadcast during the 2012 Super Bowl. The one-minute ad celebrates several decades of great times in the US, beginning at the end of Prohibition in 1933.

 

She Sells Sanctuary

Oh, the heads that turn
Make my back burn
And that heads that turn
Make my back, make my back burn

The sparkle in your eyes
Keeps me alive
And the sparkle in your eyes
Keeps me alive, keeps me alive

The world
And the world turns around
The world and the world yeah
The world drags me down

Oh, the heads that turn
Make my back burn
And that’s heads that turn
Make my back, make my back burn, yeah
Hey yeah hey, yeah hey

The fire in your eyes keeps me alive
And the fire in your eyes keeps me alive
Inside her you’ll find sanctuary
Inside her you’ll find sanctuary

And the world the world turns around
And the world and the world the world drags me down
And the world and the world the world turns around
And the world and the world and the world and the world
And the world drags me down

Ah, hey yeah, hey yeah
And the world and the world turns around
And the world and the world
Yeah, the world drags me down
And the world
Yeah, the world turns around
And the world and the world the world drags me down

Hey yeah, hey yeah
Sanctuary, hey
Sanctuary, hey